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OFFENSIVE BASKETBALL
LOOK MAGAZINE PHOTO
(offensive
basketball
Frank McGuire
HEAD COACH OF BASKETBALL
UNIVERSITY OF
NORTH CAROLINA
™REB^XICE-HTAJL1<9 Inc. englewood cliffs, n. j.
lib
TO
MY WIFE, PAT
ALWAYS AN INSPIRATION
Second printing, July, 1959
© 1958, by PRENTICE-HALL, Inc.
Englewood Cliffs, N. J.
all rights reserved. no part of this
book may be reproduced in any form,
by mimeograph or any other means,
without permission in writing from
the publishers.
Library of Congress Catalog Card
Number: 58-14410
PRINTED IN THE UNITED STATES OF AMERICA
63079
PRENTICE-HALL PHYSICAL EDUCATION SERIES
foreword
It is a pleasure and an honor to preface this book on basketball
by Frank McGuire. I first became acquainted with Frank during
our navy days at Chapel Hill, a beautiful little town in North Caro-
lina. Frank has always been a keen student of the game of basket-
ball and imparts his wisdom to his players with much enthusiasm. He
finished one of the most remarkable years ever compiled in basket-
ball in 1957. when his team won 32 straight games and the National
Collegiate Championship.
One of the reasons behind Frank's success is the way he affects
his players. He is an inspiration to them, since they not only respec:
and obey him willingly, but also try to live up to his desire that they
set an example for their fellow students spiritually, morally, and
scholastic ally.
Frank has been called the best public relations man in North
Carolina. He has many friends from even' walk of life in all parts
of the country. He is in constant demand as a speaker because of his
knowledge of basketball and human behavior. He also conducts
many clinics each year.
At North Carolina they say that one of the best things that has
happened to their athletic program was when McGuire became bas-
ketball coach. In his first five years as coach, his teams won 88
games while losing 36. He has been building steadily and his North
vi FOREWORD
Carolina teams have won, at one time or another, over all major
foes. Some of his victories have been spectacular upsets.
The genial Irishman has hoisted North Carolina University's
basketball team from a low ebb to high respectability. His engag-
ing personality has won friends who will continue to be friends and
admirers regardless of the win-and-loss record of his teams. Though
his job is producing winning teams, and he likes to do his job well,
his good nature and thoughtfulness are not impaired by the pressure
of his profession. His office in Wollen Gym at the University is
always open to his friends and students.
In addition, Frank is reputed to be one of the best young coaches
in the country. He came to North Carolina from his Alma Mater,
St John's University, where he coached for 5 years, with his
teams compiling the brilliant record of 106 wins against 36 losses.
Four of his St. John's teams went to the N.I.T. tournaments and
two to the N.C.A.A. tournaments. Previous to coaching at St.
Johns, where he himself had been a star basketball and baseball
player, he coached at Xavier High School, New York City.
At the end of the 1956-1957 season, Frank joined the select
circle of coaches who have experienced undefeated records. In
compiling this record, his team won the Dixie Classic, the A. A. C.
Conference Championship, the A. C. C. Conference tournament,
the Eastern Championship, and the N.C.A.A. title.
W. H. H. "Tippy" Dye
Coach of Basketball
University of Washington
preface
An old maxim exists which states that a coach is no better than
his players. The truth of this axiom has been proven time and again.
Being an eternal optimist — what coach isn't — I like to dream that
some season when I don't have the material, I can somehow mould
the boys into such a unit and fire them up with such a spirit that
we can win in spite of the lack of material. In fact, in a few rare
instances, coaches have been able to pull off such miracles. But I
have been at the game long enough to know that such dreams don't
often materialize. The best a coach can hope for year after year
is not to pull off a miracle, but to realize the potential of the material
with which he has to work. A coach never looks bad when he has
an ordinary season with weak material, but he certainly does with
strong material.
All I am trying to say is that I have been coaching long enough
to realize the vital importance of the players. I hope I never be-
come so self -centered that I forget that fact. Most of my time is
devoted to finding a few boys who will fit, temperamentally and
physically, into my system. There are, I am quick to add, hundreds
and even thousands of high school graduates each year who can
play excellent college ball. But, early in their careers all coaches
and players fall into certain definite patterns. As a result, many
fine players, through no fault of their own, just will not fit into
vii
viii PREFACE
a different system. The successful coach, therefore, must be able to
recognize — and he frequently doesn't have much time — the boys
who can play his style of basketball.
At this point, of course, there is a great deal of luck involved.
We can — and frequently do — make mistakes. The player fails to
develop, or he won't work, or he thinks too slowly, or he gets
hurt, or he becomes homesick and goes home, or he can't pass his
school work. These and other related problems insure coaches
gray hairs and stomach ulcers long before their time. All any
coach can do is try to eliminate as many of these difficulties as
possible.
By now, I know pretty well the type of boys I want for my system
and I try as hard as I can to get them interested in playing under
my direction. This is only a part of it. It is necessary to interest
them in the University of North Carolina and to be reasonably cer-
tain that they can not only pass North Carolina's entrance examina-
tions, but that they can maintain the scholastic average that the
University requires for good standing. That, as all coaches know,
is a grave problem. Even when we secure thoroughly capable
students, we sometimes have a hard time making them understand
that academic competence comes first in importance.
Many prep school stars, potentially fine students, fall by the way
because their chief interest is in sports alone. For the most part,
however, this problem solves itself once the boys get settled. They
invariably like the school and the town so well that they are more
than willing to do whatever work is necessary to make a place for
themselves in the school as students. I came to North Carolina
University from New York City and since I planned, in the be-
ginning, at least, to look there for my material, I thought the
problem of acclimating the boys might prove serious. Actually, this
has never been a problem.
As every college coach knows, basketball in many parts of the
country is characterized by certain pecularities of style developed
through tradition, coaching, weather conditions, playgrounds, and
so on. And a coach like me often feels that he is better off to find
PREFACE ix
boys who have played under conditions and in a style with which he
is best acquainted. As a result, I have tried to find my material in and
around New York. Not only do I know the system played there, but
I understand the thinking of the boys since that is my home area.
I am not foolish enough to think, of course, that boys from the
City can run any faster or jump any higher than others, but I un-
derstand them better, and what is even more important, they
understand me.
Since I have coached and played high school basketball, I am
familiar with the problems of the high school mentor. I am keenly
aware that he cannot seek out boys who are familiar with and
schooled in his style of play. He must work with the boys who come
to him up through the lower grades and his problem is concerned
primarily with the development of players to fit into his style of
play.
The high school coach must, therefore, devise a system, a feeder
system, up through the grades, the playgrounds, the Y.M.C.A. and
the Y.M.H.A., and the community organizations and centers,
which will provide the type of player he desires. This system calls
for a complete organization of all "home-town" coaches to provide
a certain type of player. It is at this point that the personality and
salesmanship of the coach becomes invaluable. He must become the
home-town ambassador of basketball and rally the grade school
and other home-town coaches behind his program. It means hard
work and long hours but will result in good players trained in the
fundamentals and versed in the style of basketball the coach desires.
It is my hope that in the pages of this book the hundreds of
coaches who have written me concerning the philosophies, prin-
ciples, and techniques that I have acquired and developed may find
here and in my forthcoming defensive book (Defensive Basketball)
something worth while to aid them in their own coaching careers.
Frank McGuire
contents
one COACHING PRINCIPLES AND PHILOSOPHIES 1
A coaching code 1
My basketball philosophy 7
The player 7, The team 9, Checklist: team adaptability 9,
Coaching 10, Practices 11, The offense 12, Scouting 12,
The game 12
Planning the season offensively 13
Pre-season 13, Gymnasium and equipment 14, The cap-
tain 14, Managers 14, Staff meetings 15, Meeting check-
list 15, Squad meetings 16, Conditioning 16, Early season
(first two weeks of practice) 17, In season 18, Training
rules 18, General 18, Weight problems 19, Sleep 19,
Diet 19, Fatigue 21, Pep talks 21
two DEVELOPING INDIVIDUAL ATTACK ABILITIES 22
The player and his assets 22
Who can play basketball? 22, How does a good basketball
player get that way? 22, Player allocations 23, The ideal
player 24, Player advice 25, Player's checklist 25, Selecting
the varsity 26
Catching and passing the ball 28
Speed 29, Judgment 30, Deception 30, Split vision 30
The passes 31
The two-hand chest pass 31, The bounce pass 31, The over-
head pass 32, The hook pass 32, The baseball pass 32,
xi
xii CONTENTS
two DEVELOPING INDIVIDUAL ATTACK ABILITIES (Cont.)
Back-flip passes 33, The forward flip (bowling pass) 33,
Cross-face and cross-body passes 33, The lob pass 33, The
jump pass 34, The fake-shot pass 34, Checklist: passing
tips 34
Footwork 52
The dribble 64
Checklist: dribble tips 65
Fakes and feints 67
Ball-and-foot fake 67, Dummy play 74, Fake drive and
shot 74, Fake shot and drive 74
Jumping 75
Checklist: tips for the jumper 76
Offensive rebounding 77
Cutting 78
Screening 86
Developing marksmanship 93
Marksmanship principles 102
Facing shots 105
Right-hand lay-up shot 107, Down-the-middle lay-up shot
107, Two-hand underhand lay-up shot 108, One-hand
underhand lay-up shot 108, Two-hand overhead lay-up
shot 109, Twisting lay-up shot 109, Under-basket button-
hook shot 109, Running one-hand shot 109, One-hand set
shot 110, One-hand overhead shot 110, The two-hand set
shot 111, Two-hand overhead set shot 112, Two-hand over-
head jump shot 112, The two-hand pump shot 113, One-
hand jump shot 113, Tip-in shot 114, Dunking and over-
the-rim shots 114
Back-up shots 115
Straight turn shot under basket 115, Step-away shot under
basket 115, Up-and-under shot 116, One-hand jump-twist
shot 116, The hook shot (left and right) 116, The half-
hook shot 117, Two-hand underhand sweep shot 118, One-
hand underhand sweep 118
Diagonal shots 118
Diagonal hook shot 118, Diagonal stop-jump shot 119,
One-hand jump push shot 119
CONTENTS xiii
two DEVELOPING INDIVIDUAL ATTACK ABILITIES (Cont.)
Free-throw shots 120
Two-hand overhand free throw 120, Two-hand overhead
free throw 120, Checklist: shooting tips 121
three BUILDING A STYLE OF PLAY 150
Theory of team offense 150
The two-three 150, Offense checklist 153
Advancing the ball 154
The fast break 156
Checklist: fast-break principles 158, Checklist: fast-break
tips 166
Give-and-go weave 167
Utilizing the big man 172
The turnaround play 175
The two-man plays (186 j
The three-man plays 196
Game signals 207
The basic offense 208
Attacking the man-to-man defense 208, The five-man
give-and-go weave 210
Basic two-three offense 212
The five-man roll 237
The four-man roll with a post-pivot 238
Attacking the two-one-two zone 238
Attacking the two-three zone 241
Attacking the one-two-two zone 242
Attacking the three-two zone 244
Attacking the one-three-one zone 245
The three-two offense 247
The basic zone offense 247
xiv CONTENTS
four PREPARING FOR ATTACK SITUATIONS 250
Jump-ball team play 250
Out-of-bounds plays 256
Playing the lane 266
The control game 266
Free-throw play 268
Freezing the ball 268
Checklist: freezing tips 274
Meeting the press 275
Attacking the sag and the float 280
Attacking defensive variations 281
five GAME ORGANIZATION, SCOUTING, STRATEGY 285
Organization for game day 285, Checklist: game day
plan 285, Checklist: game strategy 286, Locker-room de-
tails 288, Pre-game practice 288
Offensive game strategy 289
Style of game to be played 289, The first time-out 289,
Substitutions 290, Between halves 291, Checklist: freezing
the ball 292, Special plays— with seconds to go 293, Scout-
ing opponents' offense 293, Checklist: meeting opponents'
defense 294
six DRILLS AND PRACTICE OUTLINES 297
Offensive drills 297
Offense practice outlines 317
First week 319
Second week 320
Third week 322
Conclusion 323
INDEX 324
OFFENSIVE BASKETBALL
KEY TO CHARTS
QQ QD © ® (D OFFENSIVE PLAYERS
|A| [§] [C] [Dj LMj defensive players
O* CJ iL) <L) POSITION OF BALL
^ PATH OF BALL
_2^ PATH OF PLAYER
DRIBBLE
^ SCREEN
BLOCK
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}~5 REAR TURN
1
coaching principles and
philosophies
A COACHING CODE
1. general perspective
Basketball is only a part of the general educational system and
must be kept in its proper perspective. A coach should familiarize
himself with the administrative policies and regulations of the
school and follow them to the letter with a cooperative and cordial
attitude. He should cooperate fully with the eligibility and schol-
arship regulations of the school and conference and support them
100 per cent.
2. faculty standing
The coach is a member of the faculty and must endeavor to
follow the approved methods and techniques of ethical and effi-
cient teaching. He must conduct himself with dignity and be fully
aware of his responsibilities as a leader of youth.
3. training and health
The health of the players is of supreme importance. A careful
1
2 COACHING PRINCIPLES AND PHILOSOPHIES
training program must be outlined and every possible measure
taken to protect the squad. An injured player should never be
neglected by the coach. Nor should the injured player be encour-
aged or forced to play without being thoroughly examined and
declared fit by the school physician. The coach must never forget
that he is not a physician. He should, therefore, refrain from pre-
scribing treatment for illnesses or injuries.
4. school loyalty
It is important that the coach make a special effort to be liked
and respected by the student body, the faculty, the administration,
fellow coaches, and players. He should attend all pep meetings
and boost his coaching associates and their teams. The intramural
program should be respected and the coach should give it his full
support, since it is an important part of the over-all program.
5. public relations
The coach should become acquainted with the townspeople,
parents, and all phases of the life of the community. His relation-
ship with the parents of the team members should be warm and
friendly. The coach is concerned with their most vital interests.
Further, the youngsters are at an impressionable age and the par-
ents are vitally interested in their welfare and progress. It is wise
to remember that success is not wholly determined by the winning
of games.
6. publicity
The student paper and the local newspaper are vital assets. The
coach should see that they get plenty of material to use in publi-
cizing his sport. He should see that the games are announced and
written up. He should be frank with newspaper friends but he
COACHING PRINCIPLES AND PHILOSOPHIES 3
should be extremely careful about chance remarks since they may
be misinterpreted.
7. sportsmanship
Since the building of character and sportsmanship is of major
importance in sports, it is the duty of the coach to make sure that
his actions and those of his players present high ideals of sports-
manship at all times and in all situations. The coach must re-
member that his own behavior and speech set a pattern for his
players, spectators and other partisans. Going further, the coach
should avoid "pouring it on" a weak team, criticizing another
coach or an official, or humiliating anyone under any circum-
stance.
8. rules
Without rules there can be no game. The coach must follow
and abide by them and coach within the bounds of correct inter-
pretations. The coach should also recognize the difficulties met in
game officiating and do everything in his power to support the
officials. If an official is clearly incompetent, he should be reported
through the proper officials' organization.
9. professional interest
The coach should be aware of his personal limitations with re-
spect to complete knowledge of the game. He must, therefore, be
a student of the game, trying constantly to improve his knowledge
by reading pertinent texts, through graduate study, and by attend-
ing coaching schools, summer courses, and college and profes-
sional games.
The coach should do everything in his power to promote interest
in the game, aid in the development of equipment, and safeguard
4 COACHING PRINCIPLES AND PHILOSOPHIES
the welfare of his players. He should endeavor to improve the game
in his community in every way — for example, by sponsoring clinics
and by inviting leading personalities of the game to visit his school.
It is vital that the coach study, analyze, and experiment with
every aspect of the game. He should be enthusiastic, energetic, in-
dustrious, and work tirelessly to advance basketball.
TO. player-coach relationship
The coach should be friendly with his players and strive to de-
velop mutual respect and confidence. He should check their mis-
takes but be understanding of their failures. Perhaps the failure
can be attributed to a teaching weakness. The coach should be
understanding, sympathetic, and yet firm in dealing with his play-
ers. In his coaching he should be exacting, but quick to praise.
A list of training rules is important. Once initiated, the rules
must be enforced. The coach must impress his players with the
importance of study and with their duty to parents, the team, and
their school to maintain academic standing and eligibility.
1 1 . the team
The coach must coordinate the individual players of his squad
into a team of which he is an important part. He should in-
spire his players to love the game and instil the desire to win.
The coach should be with his team after every game — win or
lose. Especially in defeat should he stand beside them, sharing
their disappointment, but lifting their spirits by his confidence in
the future.
12. fundamentals
The sound approach to coaching begins with the teaching of
fundamentals. The coach must have the patience to drill and drill
COACHING PRINCIPLES AND PHILOSOPHIES 5
and drill again in the correct performance of the fundamental skills
of the game. There is no short-cut to successful coaching. Trick
methods, short-cuts, and Fancy Dan plays lead only to disaster.
A good team is one that is sound — fundamentally!
13. leadership
The coach must have the ability to "take charge," since he can
develop leadership in his players only by displaying confidence,
poise, and aggressiveness in a given situation. Action of some kind
in a crisis is better than no action at all.
14. practice programs
The coach should plan his season and his daily practices care-
fully since time is precious. Without careful planning it is easy to
overlook an important part of the program. Yet, while following
through with intelligent and careful planning and a driving, game-
type workout, the coach must not forget the importance of "fun"
in his practices.
Since the coach must conserve every minute of his practice time,
he should demand that the players report promptly for the work-
outs and games. Supervision of the locker room is important to
control horseplay and to check injuries. The coach and his assist-
ants, managers, trainers, and other leaders should set the example.
Planned practice sessions conserve time and aid in sustaining
attention. There should be such complete understanding between
the coach and the players that his voice or a blast on the whistle
will command immediate attention.
It has been said time and again that basketball is a game of
habits. The down-to-earth approach to the mastery of fundamentals
requires constant repetition through drills. However, the daily pro-
gram should be planned so that each difficult and trying drill is
followed by a "rest" or fun drill. This aids the coach in keeping
his players alert and enthusiastic.
6 COACHING PRINCIPLES AND PHILOSOPHIES
Repetition until the act becomes a habit is unquestionably the
secret in mastering basketball skills. But such repetition without
frequent change can and does develop player fatigue and monot-
ony. A short, snappy drill on one phase of the game executed
enthusiastically and then shifted to another and different type of
work will insure much greater results.
Every drill in the coach's program should be directed specifically
toward the development and improvement of a skill that blends into
his planned offense and defense. Great teams are found to be
composed of players who are strong in the execution of funda-
mentals.
Progress in learning, condition, and team spirit accompanied by
a close personal relationship between coach and player will build
strong esprit de corps. Discipline is necessary, but it can be de-
veloped more effectively through player respect than through posi-
tion authority. It is wise, too, to keep in mind that harsh criticism
destroys respect and confidence, whereas praise builds personal
and team morale.
I like to come to each of my practices with something new. Per-
haps it is a funny story, a new drill, a new play, or some sort of
basketball idea that may prove a diversion from the usual practice
work.
I believe in the value of individual coaching. A good way to
work this into the practice program is to arrive early on the court
and to move from one player to another and assist each with some
phase of the game in which he needs help. I believe also in the
value of working with small groups. Long lines of players who must
wait interminably a turn in executing a drill means a poorly or-
ganized practice program and the loss of valuable working time.
Form your players into small groups at different locations on the
floor and see that every player is kept busy.
1 5. the coach
The coach is much more than a teacher of sports. He is a leader
COACHING PRINCIPLES AND PHILOSOPHIES 7
of youth. Cleanliness of mind, person, dress, and speech are as
much a part of his stock in trade as a knowledge of basketball.
And, since the players represent the school, the community, and
the coach, it is important that they be taught the value of personal
cleanliness, clean and well-pressed clothing, politeness, courtesy,
clean speech, and good table manners. Further, since their school-
mates often use them as examples, they should not permit them-
selves to become sloppy in dress or to go unshaven, or the like.
The coach must demand that the players observe the same rigid
self -discipline he observes.
Boys and young men are highly impressionable, particularly in
the field of sports. Quite often, whether he realizes it or not, the
coach becomes a sort of hero to his players and other youngsters.
It is imperative that he make a wholesome impact, demonstrate
manliness, a strong competitive spirit, exemplify good sportsman-
ship, and stress strict observance of the rules. All coaches teach
character — and their degree of success is in no way measured by
games won or lost.
Most important of all, the coach must remember that he repre-
sents the type of man to whom he would entrust his own son for
character training.
MY BASKETBALL PHILOSOPHY
One definition of a philosophy is that it is one's personal attitude
expressed in a systematic body of general conceptions with the
implication that they will be generally applied.
It sounds pretty involved to me but I try to follow a philosophy
toward the game of basketball that may be reflected in the follow-
ing paragraphs.
the player
It is my belief that all of basketball starts with, endures with, and
ends with the player. I believe that it is my job to instil spirit and
8 COACHING PRINCIPLES AND PHILOSOPHIES
enthusiasm in my players, inspire them with the intense desire to
be the best players in the world, and imbue them with a winning
spirit.
I believe that it is important to "pour it on" my players and
make them work hard. I also believe that it is my job to so convince
them that hard work pays great individual and team dividends that
they will want to work hard. Along this line, I believe that a player
remembers and respects most the coach who drills him hard and,
through repetition, "makes him do it right."
Happy players are good players. Practices and games should be
fun. Too much work and too little fun results in boredom and stale-
ness. I like to plan my practices so they will not become monot-
onous. To that end, I like to keep the workouts hopping, shifting
rapidly from one drill to another, accompanied by a lot of good-
natured yelling and player enthusiasm.
Though it is important to have player discipline in order to get
the best out of a boy, I want him to understand that it is he who
plays the game, not the coach. And I want him to play freely, with-
out fear of making a mistake. Only in free play can a boy respond
spontaneously to game situations.
It is easy to overplay the important members of the team. It is
easy to do them an injustice by keeping them in the game in order
to build up an impressive score or to increase an individual scor-
ing record. Keep in mind that the ratio of fatigue increases and
player effectiveness decreases with the amount of time played.
I like to have a good supporting cast for my "first" five and to
make the "seconds" feel important. I realize that reserves will never
develop poise and confidence unless they are used in regular game
play. And I realize, too, that they will never feel they really "be-
long" unless they are used in the games. Using reserves for varsity
"fodder" results in disgruntled players who can easily influence
regulars in the wrong way of thinking. My players and everyone
concerned must feel that the team is greater than the star, greater
than the first five, the coach, or any other individual. In addition
to bringing my varsity reserves along, I pay particular attention to
COACHING PRINCIPLES AND PHILOSOPHIES 9
the freshmen and the jayvee players and make sure that they
realize that I am sincerely interested in their progress.
Lastly, I must feel that every player who plays for me takes some-
thing more than basketball skills and game experiences with him
when he graduates.
the team
I believe that morale, poise, skill, confidence, and the will to win
are vitally important. Team intelligence and the ability to take ad-
vantage of game opportunities are necessary for championship
play. An important part of my job is to impress my players that,
in most cases, the team that makes the fewest mistakes will win.
I feel it is my responsibility to see that my team is equipped with
a basic attack to meet the man-to-man and the zone defenses and
that it can use variations and modifications to take care of special
situations. Naturally, the team should have the ability to change its
style of play a number of times so that an effective attack can be
summoned in any emergency. To that end, my team should and
must have team adaptability.
TEAM ADAPTABILITY
1
Slow down the offense when an opponent is too fast for us.
2
Crash the offensive board if the opponents cannot fast-break.
3
Play a possession game when the opponents adopt that style of
play (meet fire with fire).
Use the stall offense when the opponents have an unusually tall
defensive player who can block our close-to-the-basket shots
(maneuver him out of position with a planned attack).
10 COACHING PRINCIPLES AND PHILOSOPHIES
5
Utilize the fast break when the opponents do not observe de-
fensive balance or are big and slow.
Finally, I demand that my players be conditioned and prepared
to put pressure on the opponents all the way — throughout the
game, down the stretch, and in the overtime periods. This is pos-
sible only when every player is in tip-top shape and remains that
way from the first game of the season to the last.
coaching
I believe the coach must exude tremendous enthusiasm for the
game. He must love the sport and be willing to give freely of every
part of his being to the game. He must believe in himself and in
his methods and techniques; he must keep constantly in mind that
basketball is a game of fundamentals. Above all, he must be him-
self.
I think every coach should have a predetermined concept of his
style of attack and that he should drill his players in his methods
until they become second nature. However, it is important to re-
member that it is easy to "overcoach."
Mimeographed copies of attacks and game situations are easy
to prepare and are great coaching aids. I like to hold frequent skull
practices and use the blackboard and the strategy board to illus-
trate situations. In this connection, I believe it is important that
the player take a leading part in explaining the purposes and
reasons for the pertinent offenses in the given situations.
Time is of the essence; wasted time is dangerous. Each of my
practices is outlined, and the outline is followed at full speed.
Short practices, during which the elements are run off smoothly and
enthusiastically, are much more valuable than long-drawn-out
workouts.
I believe in stressing a philosophy of pressure offense. I feel it is
COACHING PRINCIPLES AND PHILOSOPHIES 11
important that my players feel that they are champions, that the
opponents must worry about us.
I am fully aware that the health of my players is vital. Therefore,
it is important that they be protected from colds, sprains, foot
blisters, and other threats. Here the services of a trainer or a team
physician are invaluable. Training rules should require a certain
amount of sleep, regular meals, and other sound practices as out-
lined later on in this chapter.
I believe that my team must be well trained in the basic skills.
Every player should be a good shooter, have basketball speed, be
well conditioned, be an expert ball handler, know the importance
of offensive rebounding, and understand the basic offenses and
their application.
The coach should have a close relationship with his captain and
his quarterback. Daily talks and a "meeting of the minds" with
respect to strategy and game tactics are important.
I try to use all my players. I like to get my substitutes into the
game when we have a lead and/or in the first half of any game. No
game is ever lost in the first half. It is important that my best five
be ready for the final part of the game — rested, free from the
worry of personal fouls, and in a good competitive frame of mind.
Every game is the game. You invite disaster when you look
ahead to a future rival and forget the game at hand. It is far better
to try to win them "one at a time."
practices
I believe that practice sessions should simulate as closely as
possible game conditions. Since our games at North Carolina Uni-
versity are usually played at night, I favor night practices. (I realize
that this may not be possible in high-school and preparatory-school
competition for many reasons that usually do not affect college
coaching.) I believe in charted areas and spots for shooting. And
I believe that players shoot better from certain areas on the court
than from others.
12 COACHING PRINCIPLES AND PHILOSOPHIES
the offense
In my opinion, team offense begins with the fast break. But I
also believe that it should be a controlled break and one that lends
itself to the best use of the player talent available. I like my players
to be so skilled in the use of the fast break that they can pull out of
it without a bad shot or loss of the ball when it is obvious that the
advantage is lost.
I do not believe in a set offense or in set plays as such. In my
opinion, any offense is good that employs free circulation, floor
balance, and the coordination of the players through the execution
of fundamentals. However, in teaching my type of offense, I believe
in drilling my players in certain plays and series of plays in order
to develop automatic passing and scoring reactions to the situations
that may be met.
I believe in slowing down my team's attack when I feel it is
necessary in order to win. And I believe in freezing the ball when
it may insure victory.
I believe that it is extremely important to make definite plans
and practice regularly getting the ball from the center jump, from
held balls, loose balls, and rebounds, and through interceptions.
scouting
I believe scouting is important; scouting notes assist materially
in the winning of games. Every coach should avail himself of the
best scouts available.
the game
The coach should have his team ready to adapt an offense to
COACHING PRINCIPLES AND PHILOSOPHIES 13
meet any defense, and he must not be afraid to gamble. He should
make the decisions. The players expect him to lead and to take
the initiative when decisions are necessary. He should not sit, and
wait, and hope that things will improve. He should act!
PLANNING THE SEASON OFFENSIVELY
pre-season
A coach should keep in close touch with his players during the
entire year. Most boys who play basketball become specialists in
the sport and play the year around. Year-round play is possible
because of the development of summer basketball and the con-
struction of outdoor courts all over the country. The veteran mem-
ber of the team may not need much advice toward improving him-
self during the summer, but the freshmen and other players who
have not reached a high degree of development should be given
some suggestions so that they may work on them during the sum-
mer. Mere thinking about these suggestions will help, and the fact
that the coach has given thought to their improvement is im-
portant in building the players' morale.
When it is impossible to keep in close personal contact with his
players, the coach can send them a general letter a month or six
weeks previous to the opening practice. This letter should contain
an outline of the season plans and objectives and some personal
hints for individual improvement as well as some suggestions con-
cerning conditioning. It is wise to advise the player that he should
not engage in regular games prior to the first practice, but that he
should shoot around for fun, improve his dribbling, passing, re-
bounding, jumping, and other fundamentals. Certain exercises such
as rope skipping, light calisthenics, shadow boxing, use of a medi-
cine ball, and running to strengthen the legs and improve the wind
are to be recommended.
14 COACHING PRINCIPLES AND PHILOSOPHIES
gymnasium and equipment
The head coach should personally check the equipment he will
need for the season, making sure that it is in good condition and
that there is sufficient quantity to adequately suit-up his varsity,
junior varsity, freshmen, and other teams. Next he should inspect
the gymnasium to see that the court is well marked and in good
condition. The baskets, nets, scoreboard, time clock, and scoring
tables should also be checked at this time.
the captain
The selection of a captain is a serious matter for everyone con-
cerned: for the school, the student body, the coach, and particu-
larly for the team. Since the captain is the team's representative, I
want to be sure the right man is selected. For some years I have
personally appointed the captain and the method has been suc-
cessful.
managers
A good senior manager means a good start. It is important that
the right youngster have the job. It has been my good fortune to
have managers who were fine administrators and enthusiastic
sportsmen.
An organization functioning year after year in which freshmen,
sophomores, juniors, and seniors advance in that order to the posi-
tion of head manager means that the coach will have an experi-
enced and interested youngster on hand to handle the hundred-
and-one details and responsibilities encountered during the season.
The duties are too numerous to discuss here. However, if a
check list is mimeographed for each practice, home game, game
COACHING PRINCIPLES AND PHILOSOPHIES 15
away from home, and tournament, it will eliminate many over-
sights and insure the proper execution of the managers' duties.
staff meetings
The head coach will undoubtedly have his season plans formu-
lated in advance, but it is wise to devote several staff meetings to
their discussion. The assistant coaches, trainer, captain, and the
senior manager should be present.
At these meetings the duties of each member of the staff should
be outlined and, in general, the following should be discussed:
MEETING CHECK LIST
1
Review the previous season's highlights, weaknesses of the team
such as shooting, ball handling, defense, use of the fast break, re-
bounding, blocking out, taking bad shots, condition, cliques,
spirit.
2
Evaluate returning and new players.
3
Plan the offense and defense.
4
Set up conditioning and training rules.
5
Plan the use of teaching aids, movies, charts.
6
Plan a practice outline built around the season's schedule.
7
Discuss drills and special attacks and defenses.
16 COACHING PRINCIPLES AND PHILOSOPHIES
8
Prepare player progress charts, game performance charts.
9
Plan for trips and look ahead to tournaments.
squad meetings
Several orientation meetings should precede actual floor prac-
tices. With the liberal use of a blackboard, the coach can familiarize
the squad with his offensive and defensive theories of the game,
conditioning and training rules; outline and discuss his season
plans, drills, and practice outlines; and cover the basketball rules.
Forms for physical examinations and parents' playing permis-
sion can be distributed and gotten out of the way. The entire staff
should take part in these meetings and cover their assigned duties
so that all concerned will understand their responsibilities.
conditioning
Pre-season work by the individual player should enable him to
report for the early-season practices in fairly good condition. If a
new candidate or even a veteran is not sufficiently interested in his
personal physical condition to do some pre-season work, it is doubt-
ful that he will contribute much to the team. Personally, I find that
it is impossible to keep my players away from basketball. Many
of them work out all summer and, as soon as school opens, they
are at it again — practicing their shots, dribbling, driving-in, re-
bounding, passing. This means that I can begin my early-season
work fairly certain that much of the basic conditioning has been
completed.
I believe that conditioning can be most wisely accomplished
through basic drills and training in fundamentals. However, calis-
COACHING PRINCIPLES AND PHILOSOPHIES 17
thenics, rope skipping, shadow boxing, and the use of medicine
balls are excellent conditioners. Medicine-ball drills are excellent
for loosening up the fingers, strengthening wrists, and for prac-
ticing all passes. Incorporating bending, turning, and twisting in-
sures a good workout before actual practice begins.
early season (first two weeks of practice)
A complete week-by-week practice outline will be found in the
latter part of this book (see p. 319). The consideration in early
practice is the integration of conditioning activity with fundamental
drills that are directed toward the development of basketball skills.
For example, the development of leg power and "wind" can be
accomplished just as easily by a fast-break drill or a full-press drill
as by running on an outdoor track.
A word of caution is advisable here. The feet are unused to the
hard running and the sudden stops and starts, and it is wise to limit
such action for the first few days. The use of two pairs of sox and
a commercial hardening application will be of great help. Tincture
of Benzoin will harden the skin, assist in preventing blisters, and
prevent athlete's foot.
Many coaches jeopardize the entire season by overworking their
players during the first few practices. It is easy to work your play-
ers so hard the first day or two that they may be crippled for an
entire week. This means loss of time and, more important, loss of
the player. Naturally, the conditioning program is stepped up
until the squad is able to work at full speed during the entire
practice session.
The players soon become familiar with the coaching methods,
and now a time schedule can be put into operation. I work no more
than five or ten minutes on a single fundamental or drill. Midway
in the practice I like to allow a ten-minute freedom "break" in
which the players may do as they wish.
18 COACHING PRINCIPLES AND PHILOSOPHIES
in season
Once the game season arrives, the big problem is to maintain
the conditioning level achieved in the early-season workouts. This
can be a serious problem because of the time required for special
offensive and defensive work in preparing for the next opponent,
light practices following and preceding difficult games, and in
travel.
training rules
The trainer is an invaluable member of the staff. His advice in
setting up the practice outlines, establishing the training rules, and
determining a proper and balanced diet is followed to the letter.
Naturally, the high school coach must, in most cases, assume this
responsibility with the assistance of the school physician.
General. I have never drawn up a definite set of training
rules. I believe that the players should be aware of the importance
of securing plenty of sleep, a balanced diet, an abundance of fruit,
and plenty of water between meals. Naturally, smoking and the
use of intoxicating beverages cannot be countenanced.
A basketball player acquires drive through hard training, forc-
ing himself day after day beyond the point at which he first be-
comes fatigued until he reaches his maximum potential. For that
reason, I do not believe in lay-offs during the season. If practices
are interrupted for any reason, I believe the player should be urged
to keep in shape through roadwork, calisthenics, volleyball, and the
like.
If the players desire a good team and are sold on training as
COACHING PRINCIPLES AND PHILOSOPHIES 19
vital to the success of the team, they will be glad to cooperate. It
is fairly easy to tell whether training rules are being violated. In-
ability to keep up with teammates in the usual drills, poor condi-
tion, nervousness, and fatigue are indications.
Weight problems. A weight chart should be kept by the
trainer, assistant coach, or manager. The player should weigh-in
for practice and weigh-out after his shower. A study of the chart
from time to time will enable the trainer or coach to determine
whether the player is losing weight too rapidly. If so, it is wise to
have the boy checked by a physician. After the first two or three
weeks the athlete who maintains his weight level certainly is not
overtrained and is in little danger of going stale.
Sleep. The highly trained and conditioned basketball player
requires from eight to ten hours of sleep. During sleep the body
repairs broken-down tissue, renews muscular strength, and dis-
poses of waste products.
Diet. The subject of diet for the athlete has been controversial
for many years. However, it is certain that three regular meals a
day are necessary. Breakfast and dinner should be heavy meals and
lunch should be light.
The player should not practice for at least two hours after meals,
nor should he eat for at least an hour after practice. Before games
it is wise to eat three to four hours before the contest. It is my
opinion that a normal mixed diet is sufficient for the average
athlete.
The college coach has the assistance of an efficient trainer and
usually a training table under the direction of a trained dietician.
This normally takes care of the problem. The high school coach
must rely upon the athlete's parents. The average mother normally
prepares meals that are appetizing, appealing to the eye, and well
balanced. She will usually be glad to follow the suggestions of the
coach with respect to diet in the interests of her son.
Something like the following might be suggested to the player's
mother:
20 COACHING PRINCIPLES AND PHILOSOPHIES
Breakfast
Fruit juice
Whole fruit (such as grapefruit, oranges, pears)
Cereal (whole grain)
Eggs (poached, boiled, scrambled)
Ham or bacon (small portion)
Toast and jelly
Milk
Lunch
Soup
Sandwich
Salad
Fresh fruit
Toast
Milk or tea
Dinner
Lean meat, fowl, or fish
Fresh vegetables (raw)
Cooked vegetables
Dessert
Toast
Milk
Pre-game meal
12-ounce steak
Baked potato
Dry toast
Fruit cup
Hot tea
or
Poached egg
Thin slice of beef (no gravy)
Fruit juices
Toast
Moderate cool water
Tea
Something sweet (chocolate bar)
COACHING PRINCIPLES AND PHILOSOPHIES 21
fatigue
There are two kinds of fatigue: physical and mental. Physical
fatigue is normally evidenced by loss of weight, a drawn look,
worry, lack of pep, irritability, lack of stamina, and an erratic prac-
tice or game performance. The causes could be a poor diet, lack
of sleep, working or studying too hard, sickness, lack of interesting
practices or games, or the need for a rest.
Rest is the best cure for physical fatigue. Limited practice, im-
proved diet, more water and juices, sleep, sunshine, music, singing,
fun, relaxation, and massage will help.
Mental fatigue in athletics usually results from boredom and
loss of interest. When the same practice outline is followed day
after day and when long periods of time are devoted to practice of
a single skill, enthusiasm will lag.
New plays, new drills, new methods, competition, fun games,
and a complete change of practice program will usually bring back
the desired enthusiasm and drive. This is the point where the coach
must not permit himself to let down in his personal drive. His in-
terest must be high, enthusiastic, driving, and he should present
his coaching material in a different manner.
pep talks
I do not believe in pre-game pep talks. It is detrimental to push
your team to a high emotional point too often during the season.
The morale of winning teams is consistent and they do not require
the emotional approach.
2
developing individual
attack abilities
THE PLAYER AND HIS ASSETS
who can play basketball?
Nearly any boy or man can play basketball. In the last few years
the trend has been toward tall players but there is plenty of room
in the game for those of any size. Height is important, but the ad-
vantage is often lost because of lack of speed or poor coordination.
Though speed is vital in today's jet-propelled game, there are liter-
ally thousands of players who possess only ordinary speed but make
up for it by spirit, drive, teamplay, good ball handling, and shoot-
ing skill. Big, heavy players often find a place on the team because
of their rebounding and "feeding" abilities. Scores of teams
throughout the country are sparked by small players. Most of the
good teams I have coached included one or more players in each
of the categories described above.
how does a good basketball player get that way?
He can make himself good by possessing an intense desire to
improve; by intelligent and constant practice; by studying the game
and its situations, and by developing a spirit of teamplay, sports-
22
DEVELOPING INDIVIDUAL ATTACK ABILITIES 23
manship, and self-confidence. A little encouragement, interest, and
constructive criticism can do wonders in the development of an
ambitious youngster.
player allocations
The trend in recent years has been toward development and use
of players by offensive and defensive positions. Professional basket-
ball has pretty generally classified its offensive players to conform
with the Two-Three offensive formation (two backcourt operators,
two corner men, and a pivot or post player). Defensively, these
teams set up with the backcourt players serving as front-line chasers
while the pivot and corner men guard the under-basket area, block-
ing out and retrieving the ball.
Backcourt players are usually the "quarterbacks"; corner men
operate from the corners; and the pivot or post man works out from
the basket or near it for scoring or "feeding" purposes. With three
big men in the forward line, it is not uncommon in this style of play
for the front-line men to exchange positions and duties. The smaller
backcourt players usually lead the fast break, set up the attacking
formation and, because of their superior passing and dribbling
abilities, initiate the plays. Such players must be good outside shoot-
ers, hard dribblers, possess a good stop shot (jumper or set), be
expert in keeping the offense spread, and have the ability to con-
trol their teammates so that the team will maintain good defensive
balance.
Corner men are usually tall, rangy, and possess good leaping
ability. They are good rebounders and fast enough to take part in
the fast break. They must be good passers; fine corner marksmen
(usually one-hand sets and jumpers); must be able to drive along
the baseline or to the inside; and must be expert at following-in
their teammates' shots. In some offensive styles these corner men
often team up with the backcourt "quarterbacks" in developing a
weave or roll attack.
24 DEVELOPING INDIVIDUAL ATTACK ABILITIES
The pivot or post player must have good back-up shots (pivot,
turn, and hook shots) near the basket. Today most of the pivot
men are expert with facing shots (the one-hand set and the jumper) .
Further, most front-court plays are directed toward or around the
pivot man who sets up a position on either side of the free-throw
lane or in the outer half of the free-throw circle. These big fellows
are usually heavier and more rugged than the corner man. De-
fensively, they must be able to cope with the opponents' pivot
player and be the team's dominant figure "under the boards."
The above allocation or positioning of players permits the use
of the professional style of basketball and practically any other
offense, including the give-and-go or Eastern style, a four-man
weave or Western Roll, variations of the figure-eight, and other
pattern attacks.
Personally, I have found that the Two-Three formation permits
quick conversion to other setups such as the Three-Two, the five-
man weave, and a four-man roll with the pivot man stationed in
the outer half of the free-throw circle. A little variation of the Two-
Three formation results in a good formation with which to attack
various zone defenses. Because of its all-around effectiveness and
my familiarity with the Two-Three, I have added a few variations
and adopted the style as my basic offense.
the ideal player
In my opinion, the most important asset a player can have is
love for the game. If a player really loves basketball he can over-
come many personal handicaps. The fact that he loves basketball,
means, in most cases, that he has the right spirit; that he will work
hard to succeed; that he is coachable. I place a high premium on
good temperament, a spirit of cooperation, and a fighting heart.
Naturally, physical attributes of speed, agility, height, and mental
alertness are of vital concern. The will to win, courage, team spirit,
ability to learn, willingness to sacrifice personal glory for the sake
DEVELOPING INDIVIDUAL ATTACK ABILITIES 25
of the team, and the perseverance necessary to train and maintain
academic standing are important.
Naturally, the abilities to pass, shoot, dribble, rebound, and
guard an opponent are necessary game skills. But with the above
mentioned qualities of spirit to urge him on, I believe almost any
boy can master the fundamentals of the game.
player advice
Basically, the player who wishes to excel in basketball must like
to play the game, possess good physical stamina and good emo-
tional control. He must be willing to train and follow training rules
conscientiously as an evidence of his loyalty to his teammates, the
team, the coach, and the school.
Basketball is a game calling for quick reflexes and fine coordina-
tion. Shadow boxing, heavy-bag punching, rope skipping, and
medicine-ball calisthenics all help in developing coordination. Of-
fensive game skills such as passing, shooting, jumping, rebounding,
dribbling, and screening can be perfected only by hours of practice.
Defensive skills such as guarding, switching, blocking out, and re-
bounding call for hour after hour of intense work.
PLAYER'S CHECKLIST
1
School work is the beginning. If the candidate is a good student,
the chances are he will be a good player.
2
Listen to the coach, follow his directions, and hustle.
3
Courage and the inner force (heart) that make a player fight
right up to the last second of the game are the player's finest
asset.
26 DEVELOPING INDIVIDUAL ATTACK ABILITIES
4
Control of emotions means a clear head in a tough situation and
aids in being a good sportsman. Hotheads often go to pieces in
tense moments.
Rules and officials govern the game. The good player will fa-
miliarize himself thoroughly with the rules and will respect the
officials' interpretations.
Since basketball is a team game, the player must direct every
effort toward being a good teamplayer.
A good basketball player plays clean. He doesn't resort to dirty
tricks to demonstrate his ability.
8
If a player must relax during a game, he should do so when his
team has the ball.
Alertness pays off. The player who is wide awake will be invalu-
able in taking advantage of scoring openings.
10
The player must be coachable, able to assimilate instructions, and
big enough to take criticism. He must keep in mind that correc-
tion of mistakes is a part of teaching.
selecting the varsity
Methods of selecting the varsity squad vary, naturally, with the
size of the school and the number of candidates reporting for prac-
tice. Considerations associated with the selection of each player are
his mental and moral characteristics, his present ability, his po-
DEVELOPING INDIVIDUAL ATTACK ABILITIES 27
tential (possible future development), and his value in terms of
position and team responsibilities.
Naturally, a coach wants to select the best players. Like baseball
scouts, most basketball coaches like to see the potential members
of their squad in action, in actual competition, in game after game.
But that is not always possible unless the candidates have come up
through freshman or junior varsity basketball, or have played on
physical-education, intramural, or other teams that the coach has
had a chance to watch.
When the coach has no previous knowledge of the candidate's
ability under fire, in game competition, he must use other methods
of determining his ability. Practice scrimmages, execution of drills,
marksmanship ability, and the player's performance in three-man
basketball, two-on-two, and one-on-one may help. Some coaches
take recourse to performance charts. Offensive and defensive skills
in practice scrimmages and games are recorded: shots attempted
and made from the field, free-throw accuracy, offensive and de-
fensive rebounds, assists, interceptions, jump-ball control and re-
coveries, held balls, bad passes, fumbles, violations, and personal
and technical fouls.
Selection of the best players is far from being the final step. Cer-
tain questions must be applied even to the best players: Can they
blend into the style of play? Are they teamplayers? Can they effec-
tively fulfill your offensive and defensive assignments? Do these
players guarantee the squad all-over strength in the various de-
partments of the game?
Eliminating for the moment the mental and emotional qualities
and concentrating on the skill side, I look for the player with good,
quick hands who can handle the ball at full speed; who can shoot;
who possesses good footwork; who has good height, alertness, good
coordination; and who places the welfare of the team ahead of per-
sonal gratification and glory.
Does that seem like a lot? I guess it does, but the coach can only
help his players achieve such perfection by placing his own basket-
ball ideals at a high level.
28 DEVELOPING INDIVIDUAL ATTACK ABILITIES
It is important to keep in mind that it is easy to make mistakes
in selecting varsity players. The big, awkward kid who has two left
feet may not be ready right now, but who can say how far he will
progress in another year. Much thought and care should be de-
voted to maintaining the interest of such unsuccessful candidates.
I believe it is only fair that the coach talk privately with each player
who is eliminated and assure him that he is anxious for the player
to maintain an interest in the game.
The player should not be misled. He should be told wherein he
has failed and what he can do to correct his weaknesses. The coach
can usually maintain the interest of the unsuccessful candidate by
making sure that he has a chance to engage in jayvee, club, class,
intramural, or some other form of competitive basketball. Some-
times he can be given a job with the team, such as taking game
notes, charting player performance in scrimmages and games,
scouting, or reporting.
CATCHING AND PASSING THE BALL
Handling the ball is easily the most vital part of basketball since
it covers catching, passing, and dribbling. These three skills are the
backbone of teamwork. Their development is the most important
task facing the coach.
Fumbling and bad passing usually go hand in hand, but loss of the
ball is not always caused by bad passes. The ball may be fumbled
because of incorrect use of the hands and fingers in catching. Fight-
ing the ball (failure to let the fingers "give" as the ball comes into
the hands), a poor body position, or attempting to catch the ball
with the heels of the hands are other causes of fumbles. Naturally,
a high, low, hard, or poorly timed pass may also cause a fumble.
Emotional elements also enter into passing. Quite often a player
will lose his temper and make a pass in anger. Some bad passes
may be caused by carelessness or fatigue.
In catching the ball, the hands should be relaxed and the fingers
DEVELOPING INDIVIDUAL ATTACK ABILITIES 29
well spread and pointing up or down, depending upon the height
of the pass. The fingers and thumbs, with the aid of the palms,
should be well cupped. The wrists and elbows should be free and
loose so that the hands can "give" with the ball. Most of the con-
tact is with the fingertips. Many players make the mistake of trying
to pass the ball before they catch it; they are not concentrating on
the ball, are failing to watch it until it actually makes contact with
the hands. The player should meet the ball by advancing and
reaching toward it. By so doing he reduces somewhat the danger of
interception and is able to keep his body between the ball and his
opponent.
Passing calls for good hands — not necessarily large hands, but
hands that through drills and practice have developed "feel."
Accuracy is more important than speed, although a fast pass is
essential against good opponents. Movement of the ball should be
fast and constant and all drills should be directed toward this end.
Slow, deliberate passing and holding up of the movement of the
ball allow the opponents to concentrate through sagging and float-
ing against the point of the attack.
There is no easy way to develop passing skill. Practice and more
practice and drill after drill, day after day, are necessary. The drills
should simulate game conditions as nearly as possible. Keep in mind
that there are different planes or levels in passing, and include these
in the practices.
Good passers are accurate passers. The elimination of waste
motion in receiving or delivering the ball is another earmark of
passing skill. Good timing is another important element which the
good passer develops only through constant drilling.
The best target in passing the ball is probably between the waist
and the shoulders. A head-high pass causes the receiver to duck
and takes his eyes away from a possible play opportunity. Some of
the important factors that go into the making of a good passer are
as follows:
Speed. Fast passing is important but "plugging" (throwing the
30 DEVELOPING INDIVIDUAL ATTACK ABILITIES
ball too hard when in close proximity to the receiver) is dangerous.
Timing is essential. Usually the speed of the receiver determines
the speed with which the ball should be forwarded to him. (The
ball travels about ten times as fast as a player can run so there is
little need of tremendous force.)
Judgment. Good passing ability is wasted if the ball is not
passed at the right time in the right place to the right player. Cer-
tain passes are good in certain play situations and injudicious in
others. A tall player would be foolish to use underhand and bounce
passes (low-plane or low-level) when guarded by a shorter op-
ponent. The tall player's best passes in this situation would be the
baseball, hook, and two-hand overhead (high-plane or high-level)
passes.
Deception. Most guards concentrate upon the ball, so the
passer should employ some sort of deception. He should avoid
making all his passes on the same plane or level. It is possible to
watch the opponent and pass over, around, or under his hands.
Changing the plane or level of the pass will usually assure a safe
delivery of the ball. In this connection, it is wise to pass to the left
of right-handed players and to the right of left-handed players.
Split vision. This is difficult to teach. Some players seem to
come by the ability naturally. Most players feel that they must look
directly at their teammates; others go to the opposite extreme —
they look away and execute disastrous blind passes. The player
should be impressed with the fact that depth and marginal vision
will enable him to see his receivers clearly. The player who con-
tinues to have trouble catching or passing the ball after extensive
practice should be checked for visual deficiencies. Faulty vision is
not nearly so important in shooting as it is in catching the ball.
Players who use peripheral vision and can keep a "poker face"
before, during, and after a pass have a tremendous passing ad-
vantage.
There is a pass for every play situation. Whether or not the play
will succeed depends upon the position in which the player catches
DEVELOPING INDIVIDUAL ATTACK ABILITIES 31
the ball and upon his ability to shoot or to pass it on to a team-
mate. At this point, the type of pass becomes vital.
Good passers are able to eliminate waste motion. So, in my
drills, I try to equip the players with passes that will enable them
to immediately release the ball in the plane or level at which it has
been received. In my fundamental practices I adapt various passes
to each drill so that the players will be prepared to release the ball
quickly and accurately from any position.
THE PASSES
The two-hand chest pass. The chest or "snap" pass can
probably be regarded as the basic pass in basketball. It usually ac-
companies the rapid movement of the ball such as is found in the
give-and-go, weave, roll, and pattern attacks. Although some play-
ers possess sufficient strength to snap the ball considerable distances,
the snap is used most efficiently when the distance does not exceed
20 feet. The hands are placed on the sides of the ball with the
thumbs and fingers spread to cover as much of the surface as pos-
sible. The ball is released with a flip or snap of the wrists, elbows,
and fingers, producing a reverse spinning motion as the thumbs are
snapped under and through. The best point of release is between
the hips and the shoulders.
The two-hand snap pass is easy to teach, adapts itself quickly to
feinting and faking, and affords maximum protection of the ball.
Strong wrists and fingers are important to proficiency, and the
daily use of medicine balls is an excellent strengthening medium.
The bounce pass. This pass is similar to the snap pass but is
thrown on a different plane. It is not safe for a great distance and
must be kept close to the floor. A high bounce pass is slow and
easy to intercept. The ball should be snapped down and out and
aimed to hit the floor as close to the teammate as possible. Whether
the pass is made with one or two hands makes little difference, but
some sort of a preliminary fake aids in its effectiveness.
32 DEVELOPING INDIVIDUAL ATTACK ABILITIES
The bounce pass is particularly effective against zone chasers
and in feeding the ball to a pivot player. The one-hand bounce
pass is easy to get to the pivot player when it is preceded by a long
cross-over step with the leg opposite the throwing hand.
Back-bounce passes are used in the give-and-go attack following
a dribble, and by post and pivot players in feeding cutters. The
one- or two-hand back-bounce pass is excellent in setting up a
screen for a set shot by a teammate or to give him a post around
which to dribble. A long one-hand bounce pass is also useful in
feeding a teammate who executes a change-off and drives for the
basket; it is often effective, too, against the press.
The overhead pass. The overhead pass is a favorite weapon
of the pros. It is fast, and its high plane makes it almost impossible
for the opponent to stop it. The ball should be held high above the
head and propelled chiefly with the wrists. Pivot and post players
often use this in connection with the turnaround play, and its use
as a medium to feed a pivot man near the basket is universal.
The hook pass. This pass used to be one of the favorite
passes in the game. It is still one of the best passes with which to
initiate the fast break following a rebound from the defensive
board. It is effective in feeding the pivot and is a fine pass to use
when closely pressed by an opponent. Most tall players are expert
in the use of this pass.
The hook pass can be made from the floor or while in the air.
As with all passes, it is best to start it from a crouch. A slight turn
of the body accompanied by a forward step is important in stressing
accuracy. The step and the half turn also aid in confusing the de-
fensive opponent and in protecting the ball. The ball is held with
the fingers widely spread; and if it cannot be held with the fingers
alone, it may be rested against the wrist and forearm. The arm
must be fully extended before the ball is released from the finger-
tips.
The baseball pass. This pass is a "must" when speed and
distance must be combined. It is an excellent outlet pass in the fast
break, and all rebounders should be expert in its use. Strangely
DEVELOPING INDIVIDUAL ATTACK ABILITIES 33
enough, most basketball players find this a difficult pass to control.
Timing and the elimination of a curve are important.
The ball should be released with an elbow and wrist and finger
action similar to the technique employed by a baseball catcher in
throwing to second base. The ball is brought quickly behind the
ear and released on a high plane. The thrower must follow through
to insure absolute accuracy since the ball oftentimes soars out of
bounds.
Back-flip passes. These passes, made with one or two hands,
are important in almost every type of offense. Proper use requires
much practice since the passer is facing away from the receiver.
The ball is released from the fingertips and the follow-through is
exaggerated for purposes of control. The one- and two-hand flips
may be made around the back, over the shoulder, or straight back
beside the hip. The around-the-back pass is not a trick pass. It is
used by many sound players when they are so closely guarded they
cannot shoot or make an ordinary pass. A teammate may be ap-
proaching on the other side of the guard entirely free, and an
around-the-back flip or bounce pass may lead to a score. Further,
when the player is closely pressed, the around-the-back pass may
eliminate a held ball. Here, as with the hook pass, the fingers must
be widely spread and the ball may be supported by the wrist and
forearm.
The forward flip (bowling pass). This pass is very quick
and the ball may be released almost as soon as it is caught. The
pass is made with one or two hands and is thrown or flipped on a
low plane from the fingertips.
Cross-face and cross-body passes. These passes are fast
and are vital to a good passing team. They are thrown from the
fingertips while the player is moving at full speed and are im-
portant because of that fact. Some players develop such fine dex-
terity with these passes that the hands seem to barely touch or slap
the ball in guiding it to a teammate.
The lob pass. This pass is used when it is necessary to give a
cutter time to reach the ball (a long lead). Some players use a lob
34 DEVELOPING INDIVIDUAL ATTACK ABILITIES
pass when an opponent is playing in front of the pivot player. It is
usually released like a two-hand set shot and is executed softly and
with a minimum of spin.
The jump pass. This pass should be used only when the
passer's receiver is free and it is necessary to leap in the air in order
to get the ball away. An exception may be noted here in the case
of tall players who use the pass effectively following a defensive re-
bound, getting it into play by passing while they are in the air.
The fake-shot pass. This is an extremely deceptive pass. It
is effectively used when a teammate's guard switches to stop the
apparent shot or when a teammate's opponent leaves his defensive
position to block out or retrieve the expected rebound. This pass is
often made from the air following a fake jump shot. The two-hand
set shot often lends itself to this type of pass.
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PASSING TIPS
1
Keep two hands on the ball so that you can shoot, dribble, or
pass. Maintain good body balance and be a threat. Never bounce
the ball to gain thinking time.
2
Use fingertip control and a strong wrist snap, and be sure to
follow through on all passes.
3
Keep in mind that the passer is responsible for the success of
the pass (and for interceptions by opponents).
4
Know your teammates' voices and be ready to pass to them if
they are free.
5
Meet the ball and make no waste motions in changing the plane
of your following pass.
6
Don't "telegraph" your passes (maintain a poker face and focus
your eyes ahead so you can use peripheral vision).
DEVELOPING INDIVIDUAL ATTACK ABILITIES 35
7
Don't use "blind" passes (looking one way and passing in the
opposite direction).
8
Vary your passes and utilize all passing planes. Master feints
and fake passes.
9
Don't hold up the ball. Keep it moving and keep cutting.
10
■~-}- Don't force passes, and never use fancy passes.
11
The pass and your cut should be simultaneous (give-and-go).
12
Concentrate on "leading" the cutter and be sure that he receives
the ball in the proper plane (shooters should be given a high
pass when possible).
13
"T" Watch your teammate's opponent and pass away from him (par-
ticularly when feeding the pivot player near the basket).
14
-4- Eliminate low passes when possible (they are difficult to handle).
Long passes should be head-high or higher.
15
Pass under big men (bounce passes and fast underhand flips) and
over small men (baseball, hook, two-hand overhead).
16
Be careful in using lob passes (they are easily intercepted).
17
Never pass to a teammate's back or when he cannot see the ball.
18
Never pass the ball across-court in front of the opponents' basket.
Be extremely careful in passing the ball laterally across the court
at any time.
The Bounce Pass
The passer holds the ball as in the chest pass, between the belt
and the chest, with the fingers well spread on the ball. He looks
straight ahead, deadpan, and snaps the ball down and out. (Note
the position of the hands and fingers at the finish.)
3.
8
The Overhead Pass
The ball is held in the same standard position and is lifted above
the head. It is propelled forward at a high level with a forward and
outward motion. (Note the position of the hands at the finish.)
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The Hook Pass
The hook pass is best used when the player is facing forward
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and propels the ball sideways. In this case, the player is facing
forward and is attempting a forward hook (a difficult pass). (Note
the wide back arc and the finish of the hand. )
The Baseball Pass
The ball should be brought up beside the ear and thrown like a
catcher's peg. (Note the finish of the throwing hand.)
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The Back-Flip Pass
These back-flip passes may be made with one or two hands.
Here, the player has faked forward and then snapped the ball back
with one hand. The left hand is used for protection, as the right
executes the pass.
■
Back-Bounce Pass
The player starts a forward dribble. On the rise of the first
bounce the ball is bounced back with the right hand. The passer
holds his position without moving in case the receiver wishes to
use him for a shooting screen or as a post around which to dribble.
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Over-Shoulder Pass
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The passer again starts
a dribble. This time he
retrieves the ball with
two hands and flips it
back over his shoulder.
This is the best back
pass to use when you are
setting up the receiver
for a one- or two-hand
set-shot.
One-Hand Cross-Over Bounce Pass
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This is an excellent pass to use to feed a post or pivot player who
has secured a good position. The passer here crosses his left leg
in front of his right to protect the ball and then passes under his
extended left arm. (Note the spread of the fingers.)
52 DEVELOPING INDIVIDUAL ATTACK ABILITIES
FOOTWORK
The starting point for the development of offensive footwork is
in good body balance with the center of gravity slightly forward.
The knees must be maintained in a slightly bent position and the
heels should be lifted slightly from the floor. The feet should be
spread approximately the width of the player's shoulders with one
ahead of the other in a stance somewhat like that used by present-
day football players.
After this start, the player should learn to stop without a jump
or a hop. This is difficult to teach, but since it is a vital part of foot-
work, the coach should spend considerable time in drilling the
players to stop with one foot or the other in an advanced position.
The player then brings the rear foot forward as close to the floor
as possible so that there is a decided squeal of the shoes on the
floor. The body should be in a crouched position with the knees
bent and flexible.
In my opinion, the use of the head and shoulders is the secret in
teaching the pivot. Drilling the squad by advancing first with one
foot extended and then swinging the other forward or to the rear,
on command, with a good head-and-shoulder turn will help in
teaching this important skill. After the members of the squad have
been taught the stop and the forward and rear pivot, I like to pair
up the players in a "one-on-one" drill. The player in possession of
the ball uses the stop and the various turns and pivots to protect it
from the defensive player. Placing a premium on possession will
bring out the best qualities of the paired players.
Pivot
Execution of the pivot and a reverse cut is shown here. Advanc-
ing from the side of the court, the cutter throws a hard cut with
the left foot advanced. Then, using his right foot as the pivot, he
reverses and cuts for the basket. (Note the readiness of the hands
as the cutter drives for the basket. )
I
Pivot
(continued)
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r
Change-of-Direction
The change-of-direction is well executed here. The cutter starts
to his left, stabbing his left foot hard into the floor. He shoves off
with this foot (left) and brings his right foot forward and to the
right. (Note that this is a short step.) The left follows the right in a
long, cross-over stride.
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Fake Left Drive Right
The dribbler fakes left
with a movement of the
ball and his left foot in
that direction. Then he
stabs the left foot hard and
uses a cross-over to the
right with the same leg to
protect the ball as he drib-
bles to the right. (Note
the lowered left shoulder
and the position of the
body over the ball.)
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Double Fake
The dribbler first fakes right by bringing the ball and left leg
across in front of the defensive player. He then shoves hard with
the left foot to push his body back to the left. The stride back to
the left with the left foot is short but strong enough to give him a
push back to the right. The cross-over with the right foot is used to
protect the ball on the drive to the basket.
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Fake Right Go Right
The dribbler here fakes a drive to the right by a cross-over with
his left foot and a fake of the ball. He then stops and throws his
head and shoulders back, feinting a drive to the left. Almost im-
mediately, he pushes off, first with the right foot and then hard
with the left as he drives for the basket. (Note the body position
and the protection of the ball.)
64 DEVELOPING INDIVIDUAL ATTACK ABILITIES
THE DRIBBLE
Not too many years ago the value of the dribble was a moot
question. Today all players and all teams consider the dribble im-
portant and it is used in varying degrees in all styles of play. Drib-
bling now has advanced to the stage where it is second nature to
players and is used as freely as the pass. Naturally, a player can
dribble too much. Most of the attention in basketball is centered
around the ball and many players take advantage of the fact to
attract attention to themselves. Some players get into the habit
of bouncing the ball every time they receive it, thus slowing up the
offense and ruining their own chances of advancing with the aid
of the dribble.
Moving the ball through passing is much more rapid and effec-
tive than by means of the dribble. Players should be taught that the
dribble has its place only in certain aspects of the game such as in
the slow advance from the rear court; in the fast break; when a pass
is impossible or dangerous; in driving for the basket when the
dribbler has a clear path; in freezing the ball or in the stall attack;
in meeting the press; in dribbling out of trouble; and in evading
an overaggressive guard.
Players now are expected to dribble equally well with the right
and left hands and to shield the ball with the body and the leg
away from their opponents. The good dribbler has been trained to
keep his hand hovering over the ball and to keep it bouncing below
the knee for control and just below belt height when he desires
speed. The hands with the hovering fingers ride with the ball in-
suring control. The dribbler also keeps his head up so that he can
see his teammates and opponents in front and to each side.
A good dribbler is a master of the fake in one direction followed
by a drive in the opposite. Thus, he can fake right and go left, and
vice versa. Double fakes are those in which the dribbler fakes
right, left, and goes right, or vice versa. Another good fake might
be termed the "hesitation." In this maneuver, the dribbler fakes in
DEVELOPING INDIVIDUAL ATTACK ABILITIES 65
a direction, hesitates, and then he continues in the same direction.
Most high scorers are experts with a forward foot-and-ball fake
followed by a long backward step. This action provides time for a
one- or two-hand set, or a jump shot.
The "trap" (bringing the hand down to meet the ball on the
"up" bounce, thus trapping the ball and forcing it back to the
floor) is a necessary weapon of the expert dribbler. This move
changes the height of the bounce and thwarts efforts of the opponent
to intercept the ball. This control is absolutely necessary when the
dribbler is opposed by a hustling, aggressive ball hawk.
Following the trap, expert dribblers often use "double-time" by
keeping the dribbling hand at the low level and continuing to force
the ball to take short bounces until it fairly beats a tattoo on the
floor. This is a precautionary measure and should be discontinued
as soon as the emergency is overcome.
A change of direction while dribbling the ball requires good
footwork and expert hand action. This change-over is dangerous
because of the brief interval during which the ball passes directly
in front of the defensive player. This interval occurs while the ball
is being shifted from one hand to the other. The dribbler should
fake a hard dribble in one direction, stab the foot farthest from the
ball hard against the floor, and then execute a simultaneous cross-
over with ball and leg. This results in the change of direction and
transfers the ball to the control of the opposite hand. Some players
accomplish the same result by snapping the ball under the near leg
and to the opposite hand while traveling at high speed.
The reverse dribble is important when the dribbler is suddenly
met by a charging defensive player. It enables the dribbler to throw
a stop and, with the use of the trap, check the forward progress of
the ball. He then uses double-time to retreat.
DRIBBLE TIPS
1
Know the place of the dribble in your team's offense. Use it
judiciously. The pass ranks first in teamplay.
66 DEVELOPING INDIVIDUAL ATTACK ABILITIES
Do not slap at the ball. Keep your hand close to the ball and
push it to the floor.
Don't wait for the coach to teach you to dribble. Work at home
and at every opportunity to improve your skill.
Use a belt-high bounce for dribbling speed, and keep the ball
below knee-level for control and deception.
Don't be a Fancy Dan. Don't show off with fancy passing and
dribbling.
The "trap" is used chiefly for protection. But it can also be used
as a change-of-pace measure. Other change-of-pace methods
are to slow down or speed up your drive.
Fake with your head, eyes, and body when dribbling to add to
the defensive pressure on your man.
8
Remember that you can use the dribble to screen for your team-
mates. And don't forget to give them the ball when they take ad-
vantage of the screen. Further, be quick to use the dribble to drive
for a score when a teammate sets up a screen for you behind
your opponent.
Don't try to dribble through a mass of players. Stop or pivot
and get the ball safely to a teammate.
10
When advancing to your front court with a slow dribble, be sure
you are not being closely followed by an opponent who may
DEVELOPING INDIVIDUAL ATTACK ABILITIES 67
steal the ball. Dribbling on an angle helps in locating possible
interceptors.
FAKES AND FEINTS
One dictionary defines a fake as an act "to make it appear dif-
ferent." The same dictionary defines a feint as "a pretense of at-
tack at one point while really attacking another." In my coaching,
I like to think of a fake as applying to the feet, hands, and the ball,
and to consider a feint as a deceptive movement of the eyes, head
and/ or body.
An offensive player may fake with his feet with or without the
ball. Faking with the feet while facing the basket and without the
ball is limited to sudden stops, change of pace, change of direc-
tion, and all kinds of turns and pivots. Faking in a back-up posi-
tion (back to the basket) consists of holding position with a pivot
foot and stepping in another direction with the other foot to draw
the opponent off balance so that the attacking player may whirl
to the actual point of attack.
Any number of fakes are possible with the hands and the ball
whether facing the basket or in a back-up position.
ball-and-foot fake
Probably one of the best ball-and-foot fakes is one that was de-
veloped and exploited by Paul Arizin, one of the leading college
and professional players in the past decade. In this fake, Arizin
brought the ball down fast to a dribbling position and faked left
and right. Then he raised the ball slowly and appeared to relax.
Suddenly, he carried the ball down with lightning speed and drib-
bled right or left. It was an excellent maneuver and paid big divi-
dends with many easy baskets.
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Change of Direction Dribble
rp
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Dribbler fakes left with ball
and left foot. Right foot holds
position. The fake left dribble
is made with the left hand. As
the ball starts its upward re-
bound, the -dribbler traps the
ball with the left hand and flips
it to the right as the left foot
crosses over. The right foot
has not moved. The right foot
comes up slightly as the right
hand takes control of the ball
for the dribble to the basket.
HMMMNI
Player with the ball fakes a set shot and watches to see which
arm opponent will raise to stop the shot. In this case, the opponent
raises his left arm and the player with the ball (40) brings the
ball down following the fake and at the same time crosses over
with the left foot and drives hard for the basket. (Note the long
cross-over stride with the left foot and the crouched position of
the body to protect the ball.)
Up-and-Under Dribble
Right-Hand
Dribble
Left-Hand
Dribble
74 DEVELOPING INDIVIDUAL ATTACK ABILITIES
dummy play
This play is an . important part of offensive basketball; every
player should be able to use it when he outruns or outmaneuvers
his opponent. It should be coached until the player performs the
deception to perfection. The dummy play is employed when an
offensive player cuts or maneuvers so that his opponent has his
back to the ball. Then the cutter plays "dummy" by slowing down,
dropping his arms, and pretending he does not expect the ball.
The passer then passes the ball to the cutter (usually over the head
of the defensive player) .
fake drive and shot
Driving fakes to set up shot opportunities are designed to get
the defensive player off balance and force him back to make room
for the shot.
fake shot and drive
The fake shot is designed to draw the defensive player closer
and to get him to raise up to stop the shot. Then the offensive
player may drive around him (driving under the defensive player's
raised arm when possible).
Many players execute their fakes and feints properly enough
but they fail to allow time for the defensive player to "fall" for the
deception. Following the fake or feint too quickly with the actual
drive or shot may mean that the deception is wasted. Triple fakes
usually fail because the defensive player has been warned by the
first move.
DEVELOPING INDIVIDUAL ATTACK ABILITIES 75
JUMPING
Before the elimination of the center jump following a score, the
big man was invaluable in getting possession of the ball for his
team. When this jump was eliminated, it was generally believed
that the value of the big man had diminished. This was quickly
disproved; in fact, the big man has become even more important.
It is not implied here that a taller player will guarantee possession
in jump-ball situations, but he certainly has the advantage. Natu-
rally, the big man's importance does not end with the jump ball.
His rebound value under the offensive and defensive boards can-
not be overlooked — to say nothing of his scoring, feeding, screen-
ing, blocking, and general defensive value.
The number of jump-ball situations in a game varies. However,
it is pertinent here to say that there are enough to make the dif-
ference in winning or losing a close game.
Jump-ball situations' which concern the center occur at the start
of the game, at the quarter, at the half, and at the beginning of an
overtime period. The tall center should be able to break even on
these. However, this is only a part of the problem. Held-ball situa-
tions occur during the regular play of the game and the participants
in the particular held-ball situation must do the jumping. Thus, it
is important that every member of the squad be able to jump and
do his part in obtaining the ball for his team in the held-ball situ-
ations.
Getting possession of the ball depends upon a number of items
which are more or less related. First comes the leaping and timing
ability of the jumper. Then, the leaping ability of his opponent.
Next, some sort of signal is necessary to indicate the direction of
the tap and the receiver, the type of tap (long or short), the block-
ing (if any), and the play. Not the least matter of importance is
the manner in which the official tosses up the ball.
76 DEVELOPING INDIVIDUAL ATTACK ABILITIES
Jump- and held-ball plays are discussed and illustrated later in
this book. The concern at the moment is in developing the jump-
ing ability of the player. Special exercises such as knee bends, rope
jumping, tapping the ball up against the backboard again and
again without permitting it to come to rest in the hands, various
types of dunking, and other leaping competition will help. Chart-
ing each player's leap from day to day by means of wall marks
and charts will insure steady progress.
Tall players should develop dunking ability. They should be
able to flip the ball through the hoop with one or two hands (fac-
ing or with back to the basket) and should master the flip of two
balls simultaneously through the hoop. (A ball is held in each
hand and the try is made from a standing position followed by a
leap and a one-two count for the release of the balls.) To dunk
accurately and consistently, the player must be able to hold the
ball in one hand and, with the arm fully extended, use the wrist
to flip the ball down through the hoop with the fingertips. Smaller
players who have large hands and possess a good leap often dunk
consistently.
The "spread-eagle" drill used in developing rebounding form is
excellent in developing body control and leaping ability. The player
leaps high in the air and spreads his legs as far apart as possible.
At the same time, he extends his arms so that he can touch his
toes with the fingers of each hand.
TIPS FOR THE JUMPER
1
Be sure you have the signal before you move into the jumping
circle. Do not give the play away by looking at the receiver or
toward the point to which the ball will be directed.
Enter the circle swiftly and get set immediately. Then, concen-
trate on the ball (beware of false movements by your opponent
or by the official). Do not move or relax your jumping position
DEVELOPING INDIVIDUAL ATTACK ABILITIES
77
as long as the official is in the toss-up position. Keep your eye on
the ball until "after" your fingers have directed it to the proper
receiver at the proper point.
Remember the height to which the official has tossed the ball for
a previous jump. Timing is vital, and leaping too early or too
late means loss of the tap. Plan your leap so that you will leave
the floor just before the ball reaches its maximum height.
Light and go! Beat your opponent to the punchl If your tap has
been successful and a teammate secures the ball, drive immedi-
ately to a scoring position. If the tap is lost, check your opponent
and get info a good defensive position.
Be prepared for a second tap should the first end in a stalemate
or be deflected. Light quickly and be fully prepared to go get
the ball for your team.
OFFENSIVE REBOUNDING
The offensive rebounder is handicapped because a defensive op-
ponent usually has the inside position. However, he does have one
or two slight advantages such as knowledge of his team's scoring
plays and his teammates' shooting spots and habits. He should
make some sort of offensive move just as soon as he senses that
a teammate is going to attempt a shot. This may enable him to
drive into a good rebounding position before his guard is aware
that a shot is going to be attempted.
When it is impossible to sense the shot and the defensive oppo-
nent gets a good blocking position, the attacking player should
drive for a different position in an attempt to slide past a differ-
ent opponent. The offensive rebounder may sometimes use a spin
and leg thrust to gain a position beside the defensive player. When
body contact results because of maneuvering, it may be possible
78 DEVELOPING INDIVIDUAL ATTACK ABILITIES
to put pressure on the side of the defensive player away from the
point of attack and follow a sudden release of the pressure by a
sudden move in the opposite direction.
CUTTING
Basketball is essentially a game of motion. The ability to start
quickly, stop suddenly, dodge, change direction, and use a change
of pace marks the basketball player who is a good cutter. Cutting
and screening are similar in nature but have different objectives.
The cutter drives for the basket with the expectation of receiving
a quick pass for a score. The screener attempts to set a teammate
free for a cut or a dribble for the basket by screening or blocking
the teammate's defensive opponent.
A cutter's ability to start quickly is tremendously important. He
must maintain alertness of mind and perfect control of the body
so that it will be well balanced and under such control that the
player may drive in any direction. Since he has no control over
the way he will be played by his guard, the cutter must be ready
to take advantage of any defensive lapse. His body should be
loosely carried, with the center of gravity slightly forward and
with his weight evenly distributed on the balls of the feet.
A good cutter knows how to break, when to break, and where
to break. Many good players know how, but fall down when it
comes to the timing. The timing of the cut is important because
the cutter may reach the point of attack too quickly and find it
necessary to wait for the pass. That means that his guard will be
able to catch up with him and may be able to intercept the pass
and break up the play. Cutting too late may discourage the passer
and the cutter's effort may be wasted.
One of the most difficult features to teach is "where" to cut.
Many players become so absorbed in maneuvering to get the ball
that they forget that the chief purpose of the cut is to drive toward
the basket so that a shot may be attempted. I use the "give-and-
DEVELOPING INDIVIDUAL ATTACK ABILITIES 79
go" continuity (which is illustrated on p. 168) to teach cutting
and passing skill. It is imperative that the players cut to the basket.
They should drive down through the lane to and under the basket
before breaking off and turning toward the corner. If the players
are not carefully checked, the give-and-go drill soon resolves itself
into a weave from corner to corner and loses its value as a cutting-
and-driving drill.
There is another aspect of cutting that may cause a break in
team morale. Every player and coach of basketball is aware of the
letdown a cutter experiences when he executes a beautiful play
and gets away from his guard only to have his teammate with the
ball pass him up. This situation should be discussed with the squad
and the coach shouf3 explain that passing up a player who makes
a good cut will not be tolerated unlessthe~prayefln possession of
the ball is not in a good passing position or is too closely guarded
to risk the pass.
The coach should also warn cutters not to call for the ball unless
they are sure they have the advantage over their guard. Many play-
ers scream for the ball whether they are free or not. The good
passer will take cognizance of a call for the ball, but, before mak-
ing the pass, he will be sure that the teammate's defensive oppo-
nent has really been eluded and is not in a position to intercept
the ball.
A good cutter will have his own special bag of tricks in getting
loose but he should not overlook the importance of taking ad-
vantage of the positions and movements of his teammates and their
opponents to get away from his opposing guard.
There are a great number of cutting movements, and it is im-
possible to illustrate all of them, but those to be described and
illustrated here may serve as examples and may be used in teach-
ing players to cut. Many of these are included in the drill catalog
found at the back of this book. The starting point, direction, and
the slant of the cuts shown in the diagrams may vary according to
the style of play in use.
80
DEVELOPING INDIVIDUAL ATTACK ABILITIES
The Angle Cut is used following a hard drive along the side-
line. A change-of-direction turn or a change of pace and another
hard cut along the baseline follows. These angle cuts are the basis
for "squaring the corners" in the fast break.
Chart 1
Angle Cuts
1 Right corner angle
2 Left corner angle
The Buttonhook can follow a break for the basket; it is used to
set up a post position outside the three-second lane or in the outer
half of the free-throw circle.
Chart 2
Buttonhook Cuts
1 Buttonhook right
2 Buttonhook left
DEVELOPING INDIVIDUAL ATTACK ABILITIES
81
Corner Loop cuts may follow an attempted guard-around play.
The cutter may slow down after the initial drive and veer to the
corner. Then he can simulate a slow start up the sideline and, after
a quick loop, drive for the basket.
Chart 3
Corner Loops
1 Corner loop right
2 Corner loop left
The Cross-court Reverse is used following a hard cut across
court toward the ball. When he does not receive the ball, the cut-
ter slows down and starts slowly up the sideline. A teammate may
fake a pass to him and if his guard lunges forward, the cutter may
suddenly change direction (change-up) and cut back to the basket
for a pass and an easy score. This play occurs in practically every
game and is especially effective against the defensive player who
is interception-minded.
Chart 4
Cross-court Reverse
2 Cross-court
Reverse and Change
82
DEVELOPING INDIVIDUAL ATTACK ABILITIES
Slicing is used when a post man is stationed in the outer half of
the free-throw circle. It is often called "splitting the post."
Chart 5
Slice Cut
1 Cuts first
2 Slices behind 1
S cuts are used extensively in the give-and-go style of play and
usually follow a pass from the cutter to a backcourt teammate.
Chart 6
"5" Cut
1 Passes to 2
and executes
"S" cut
DEVELOPING INDIVIDUAL ATTACK ABILITIES 83
Scissors cuts are designed to set up plays for men away from
the ball.
Chart 7
Scissors Right
1 Cuts first
2 Cuts close behind 1
3 Side post with ball
Chart 8
Scissors Left
1 Cuts first
2 Cuts close behind
3 Side post with ball
84
DEVELOPING INDIVIDUAL ATTACK ABILITIES
In the Reverse Post the cutter sets up a post position near the
lane or in the outer half of the free-throw circle following a hard
cut for the basket. He can slow down as he makes the turn and
then break suddenly to the post position for blocking purposes or
to handle the ball.
Chart 9
Reverse Post
1 Reverse post
(right and left)
The V cut is used to change direction and cut for the basket.
Many coaches make use of this principle of cutting away from the
receiver when their team is freezing the ball.
Chart 10
"V" Cut
1 "V" cut (right
and left)
DEVELOPING INDIVIDUAL ATTACK ABILITIES
85
The Under and out cut is used by post men who are working
from a position on the side of the court. It is similar to the Reverse
Post cut and can be made laterally across the court or following
a drive to the basket.
Chart 11
Under and Out
1 Under and out
(right and left)
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The Corner Break-out is used when a corner man drives toward
the outer half of the free-throw circle to set up a post position. If
the ball is not passed to him, he whirls suddenly away from the
ball and then cuts quickly back to a pivot position beside the lane
for a possible pass.
Chart 12
Corner Break-out
1 Corner break-out
(right and left)
86 DEVELOPING INDIVIDUAL ATTACK ABILITIES
SCREENING
Screening is the backbone of modern basketball. All offenses
use the screen in some manner when setting up their front-court
attack. The use of screens enables every player to take part in the
offense whether it is a weave, roll, the give-and-go, a post, pivot, or
any other style.
A screen is made by moving in varying degrees of speed behind
or in front of a defensive opponent in such manner that a team-
mate may use the movement to get a half-step advantage in break-
ing for the basket. Contact resulting from a screen is usually caused
by the screener although, in some cases, the defensive opponent
may be charged with the foul.
Screens may be performed with or without the ball. The block
may accompany screens if it is used according to the rules. A drib-
ble or post block may be set up behind a defensive player and if
it is legally set (three feet away from the opponent) and contact
results, the defensive player is charged with the foul. However,
the blocker must remain motionless with his arms at his sides up
to and during the contact or he may be charged with the foul.
Strict interpretation of the rules requires that the defensive player
be penalized with the foul should contact result from a block, pro-
viding that the offensive player has set up the block three feet away
from the defensive player and does not move.
/
DEVELOPING INDIVIDUAL ATTACK ABILITIES
87
An Inside Screen is made when an attacking player moves or
dribbles between a teammate and the teammate's opponent. When
the maneuver is executed properly, the screener's guard will move
behind the other defensive player. An Inside Screen may be made
at varying degrees of speed. Normally it is executed at half speed
to enable the teammate to use the screener and his guard as a
moving screen around which he may cut or dribble for the basket.
Chart 13
Inside Screen
1 Screens between
2 and his guard B
An Outside Screen is made when an attacking player moves or
dribbles behind a teammate's opponent. The screener may move
swiftly or at a leisurely pace, and the two players provide a mov-
ing screen around which the teammate may cut or dribble for the
basket.
Chart 14
Outside Screen
1 Screens outside
2 and his guard B
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88
DEVELOPING INDIVIDUAL ATTACK ABILITIES
A Back Screen occurs when an attacking player dribbles or
moves behind a teammate after driving his own guard behind the
teammate's guard. The Back Screen is designed to set the two
guards up in front of the screened player, who may attempt to run
his personal opponent into the screener's guard.
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n
Chart 15
Back Screen
1 Drives his guard
A back of guard B
An Inside Screen Block occurs when a screener or dribbler
stops in a legal position between his teammate and his teammate's
opponent. The screener must be sure to hold his block without
motion.
Chart 16
Inside Screen Block
1 Screens and stops
between 2 and his
guard B
DEVELOPING INDIVIDUAL ATTACK ABILITIES
89
An Outside Screen Block occurs when a screener or dribbler
stops directly behind a teammate's opponent. In this case, the
screener must be sure that he stops three feet from his teammate's
guard and he must hold his position without motion of body or
arms.
Chart 17
Outside Screen Block
1 Screens back of guard
B and sets a block. He
must observe the three-
foot rule
A Side Post Block occurs when a screener or dribbler stops be-
side a teammate's opponent to provide an obstacle which his team-
mate may use to hamper or block his personal guard.
Chart 18
Side Post Block
1 Screens beside guard
B and sets a block
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a
90
DEVELOPING INDIVIDUAL ATTACK ABILITIES
A Rear Post Block occurs when a post or pivot player moves
to a position behind a teammate's opponent and forms an obstacle
into which the teammate may force his guard.
Chart 19
Rear Post Block
Post player 2 moves to a
position behind A and
sets a block
A Triangle Dribble Block occurs when a post or pivot player
dribbles to a position so that a teammate may drive around the
block for the basket.
Chart 20
Player 2 dribbles to the
side and sets a block for
opponent A
DEVELOPING INDIVIDUAL ATTACK ABILITIES
91
A Side Dribble Block occurs when a player stationed in the
backcourt dribbles to a position beside an opposing guard and
sets up a post around which a teammate may drive for the basket.
Chart 21
Side Dribble Block
1 Dribbles beside guard
B and sets a block
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A Rear Dribble Block occurs when a backcourt player dribbles
behind an opponent and sets up a post around which a teammate
may drive for the basket.
Chart 22
Rear Dribble Block
1 Dribbles behind guard
B and sets a block
92
DEVELOPING INDIVIDUAL ATTACK ABILITIES
A Double Block is formed by two teammates who set up a
shoulder-to-shoulder or staggered screen which may hamper a team-
mate's guard when he drives for the basket. Many set attacks use
some form of the Double Block in their category of plays.
Chart 23
Double Block
Offensive players 1 and
2 move to a position be-
side the lane and set a
block for player 3
The Offensive Roll is used by a screener when his path is
blocked by an opponent and contact seems imminent. The screener
rolls back and away from the opponent (pivoting on the left foot
when screening to the right and pivoting on the right foot when
screening to the left) so that contact is avoided.
Chart 24
Offensive Roll
Offensive player 1 starts
a screen for 2 rolls away
from guard B
Chart 25
DEVELOPING INDIVIDUAL ATTACK ABILITIES 93
DEVELOPING MARKSMANSHIP
Shooting ranks close in importance to expert handling of the ball
(catching, passing, arid dribbling). Many coaches place shooting
first in importance. That, of course, is a matter of opinion. At any
rate, all players like to shoot and will spend hours perfecting mas-
tery of their favorite shot. Thus, in teaching his players to shoot,
about all the coach has to do is insist upon the observance of cor-
rect techniques. Many coaches say that they are not interested in
form as long as the ball goes through the hoop. That philosophy is
all right for the professional coach who can select players with
proven shooting accuracy. But the high school and college coach
must develop marksmanship through the teaching of correct shoot-
ing principles and techniques.
Some players possess a natural "eye" and master the various
shots with little help from the coach. Others must be taught to shoot;
the marksmanship hints that follow are designed to aid the coach in
this part of his job.
Not too many years ago teams relied upon one or two players
to supply the scoring, and coaches built their offenses around these
scorers. A good. team-shooting average in those days seldom ex-
ceeded 30 per cent. Today, all players are expected to be marks-
men— and, for the most part, they are. The development of the
one-hand shot and the jump shot has had much to do with the in-
creased accuracy of modern players. Team averages have now
jumped as high as 40 per cent. Some modern players boast a shoot-
ing average as high as 60 per cent.
Good marksmanship can be taught. Most players are eager to
improve their accuracy and will cooperate fully with the coach. It
is his task to drill the players over and over in the correct shooting
techniques until they become second nature and are executed freely
and without hesitation. But teaching a boy to be a scorer is a more
difficult task. Some players are born with an inner drive and a
Inside Screen
Player 40 dribbles
toward his teammate
32 and then passes him
the ball. Player 40 con-
tinues on to execute an
inside screen between
player 32 and his op-
ponent.
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Outside Screen
1 zR Sw
Player 40 starts a dribble and then passes to his teammate 32.
Continuing on, player 40 cuts behind the opponent guarding player
32. (Note how player 40 makes sure to avoid contact with the de-
fensive players so that he will not be called for charging.)
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Back-Screen
Give-and-Go
Player 40 snaps the ball to
his teammate 32 and cuts be-
hind him. Player 32 gives the
ball back to 40 and cuts for
the basket. He could hold posi-
tion to afford a set shot for 40
if he wished. Since he has cut,
he expects a return pass. In
the illustration, player 32
should have cut further to his
left and in front of defensive
player 11. This might have
caused a slight bit of confusion
between the defensive players,
forcing a switch or enabling 32
to gain a half-step advantage
on his personal guard.
9
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WHS:
Dribble-Stop
Screen Play
sHEB
<te W
w
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r 1 / > T-
Player 40 dribbles to a posi-
tion three feet behind the op-
ponent of his teammate 32.
Player 32 fakes left with a foot-
step and then changes direc-
tion and cuts to the right of
the screening player 40. Note
that 40 holds his screening
position without moving after
the pass to player 32.
102 DEVELOPING INDIVIDUAL ATTACK ABILITIES
fierce confidence in their ability to get points. These players are the
potential scorers whom every coach is seeking and, if he is blessed
with several of them, he is in business.
Basketball is a game in which handling and shooting the ball de-
pend for control and accuracy upon the wrists and fingertips. In
these skills the ball should not touch the palms or heels of the
hands. The coordination of the elbows, wrists, and fingers with the
carriage of the body will result in the loose, flowing motion that in-
sures control and accuracy in shooting or handling the ball.
Some players shoot best from certain positions on the floor. If
the planned offense permits, these players should be used in the
continuity or system so that their shooting opportunities occur
when they reach their favorite positions.
The shooting chart shown on the opposite page may be used to
determine the type of shot to be used in certain front-court areas.
marksmanship principles
Basketball shots may be classified according to the direction in
which the marksman is facing when he tries for the goal. If he is
facing the basket with shoulders and feet squared toward the hoop,
it may be called a facing shot. If his back is turned to the basket
it may be called a back-up shot. If he is facing or cutting toward
the right or left corner when he attempts a shot, it may be called a
diagonal shot.
No matter what the facing, the shooter should always try to
bring his body — head, shoulders, hips, and feet — around toward
the basket as the ball is released.
As a hunter aims a gun, so should the player aim the basketball.
And, just as the hunter focuses his eye on the target, so should the
basketball player focus and keep his eye on the rim of the basket.
The target is usually the center of the front rim. However, some
shooters shoot for the space within the rim (visible from any part of
the front court) or aim on the back rim of the basket. I prefer that
the shooter bisect the front rim and concentrate on this spot before,
during, and after the shot.
DEVELOPING INDIVIDUAL ATTACK ABILITIES
Chart 25
103
Area 1. Ball is banked from Backboard in this area. Pivot Turn
Shots, Hook Shots, Step- Away Shots, All Lay-up Shots.
Area 2. One-hand Set Shots, Two-hand Set Shots, Jump Shots,
Two-hand Overhead Shots, Hook Shots.
Area 3. One-hand Set Shots, Two-hand Set Shots, Jump Shots.
Area 4. Two-hand Set Shots only.
Area 5. Long Two-hand Set Shot by expert marksman only.
Area 6. Two-hand Desperation Set Shot.
Area 7. Shots not necessary from this area except in last second.
104 DEVELOPING INDIVIDUAL ATTACK ABILITIES
f
The ball should be released from the fingertips; a desirable re-
verse spin accompanies this release. Just as a pitcher calls on his
fast ball for a control pitch, so should the basketball player employ
the spin for accuracy. This spinning motion is a natural spin. In the
one-hand shot it is imparted through the downward flip of the
fingers because of a complete forward flip of the hand from the
wrist.
The spin in the two-hand overhand shot occurs because the fingers
are flipped up and out while the thumbs are directed downward by
an outward turn of the wrists. The thumb action here is the domi-
nant factor. In the two-hand underhand shots (free-throw and
lay-up and pivot player's underhand sweep) the spin occurs be-
cause the fingers and thumbs are flipped forward and up by a lift-
ing motion of the wrists. Some players shoot a dead ball (no
spin) with some success, but the great majority of high-scoring
marksmen use a natural spin.
A good follow-through is important in any skill, and particularly
in shooting a basketball. The completion of the shot should find the
arm or arms fully extended toward the basket with the eyes still
concentrated on the target. Although it may not seem important
to maintain this concentration of the eyes on the rim of the basket,
lifting the head to watch the flight of the ball pulls the shoulders
back and lifts the arm or arms up and back, thus checking the
most important part of the follow-through. Players will readily
recognize this fact after a few trials.
Some years ago, certain coaches advocated use of the backboard
on all shots, supporting this recommendation with the statement
that if the shot was unsuccessful a deep rebound would result, en-
abling the shooting team to regain the ball. This principle died a
natural death. The outstanding shooters today are "clean" shooters
(they eliminate the use of the backboard) except when under or
near the basket. A few exceptionally tall players shoot all their
shots clean, regardless of proximity to the basket.
Use of the backboard is recommended for driving lay-up shots
DEVELOPING INDIVIDUAL ATTACK ABILITIES 105
(overhand and underhand), hook shots, one- and two-hand sets and
"jumpers" when the shooter is in the backboard area shown by
Chart 25. The angle from which the shot is taken will determine
the spot on the backboard to which the ball should be directed. In
making a bank shot, the shooter must determine the angle necessary
for a successful rebound and then concentrate on the apex of the
angle or the spot on the backboard, keeping his eyes focused on the
spot until the ball has hit the target.
The use of spin is discouraged in the backboard shot unless the
shooter is out of position and must make up for a poor angle by
imparting carry (side rotation) or kill (reverse) spin to the ball.
In placing the ball against the backboard the shooter should use a
high jump rather than a broad jump. Use of a broad jump means a
hard rebound angle for a successful shot. Use of a high jump en-
ables the shooter to place the ball gently against the backboard
from a higher plane.
The smack of the feet on the floor in a "one-two" count is an
important part of the lay-up shot. Naturally, from the right side of
the basket, the one-two is executed with the right foot contacting
the floor on the "one" count and the left foot landing on the "two"
count so that the shot is correctly attempted with the right hand as
the left foot leaves the floor.
When the player is driving to the basket from the left side of the
court, the "one" count is made by the left foot striking the floor,
and the "two" count is made by the right foot as the shot is at-
tempted with the left hand. Chart 26 gives some idea of angles and
banking spots on the backboard.
FACING SHOTS
Good scorers possess the knack of getting good shooting posi-
tions. And, unless they are pivot or post players, they usually man-
age to secure good facing positions before they release the ball for
a shot.
106
DEVELOPING INDIVIDUAL ATTACK ABILITIES
Backboard Angles and Banking Spots
True angles will not result in successful basket rebounds. Actual
angle rebounds (approximate) of the ball are shown by the straight
lines. The lines with arrows indicate the shooting lines which will
result in a rebound into the basket. The wider angle is necessary
because there is considerable "kill" when the ball hits the back-
board. This "kill" reduces the angle. Players usually compensate
for "kill" by overshooting because they have learned after hundreds
of shots that the wider angle results in the actual score.
Chart 26
DEVELOPING INDIVIDUAL ATTACK ABILITIES 107
right-hand lay-up shot
The lay-up shot is undoubtedly the most important action shot
since it is closest to the basket and is, or should be, the easiest to
make. Further, the fast break together with a good passing attack
is designed to free players for the good or easy shot. When ap-
proaching the basket from the right side of the court, the player
attempting a lay-up shot should adjust his stride so that his feet
smack the floor in a one-two count as he takes off for the shot.
Since the shot will be made with the right hand, the left foot
lands on the "two" count. The driving one-two should carry the
shooter under the basket and he should attempt to leap as high in
the air as possible from the left foot.
As the player springs upward, the ball is released from the
fingertips of the right hand with the palm facing the basket. The
ball should be laid lightly on the angle spot without intentional
spin. Many players twist the hand as the ball leaves the fingers im-
parting a "carry" or "english" spin which is unnecessary.
Some coaches teach their players to lengthen the last stride as
the shot is attempted. If the player can do this without employing
a broad jump instead of a high jump it is all right. Otherwise, the
regular driving stride is best. The shooter should carry the ball as
high as possible before laying it against the backboard.
When approaching the basket from the left side of the court, the
player should make the lay-up with the left hand. The one-two
count will be reversed on the left side of the basket and the ball will
be released just after the right foot leaves the floor on the "two"
count.
down-the-middle lay-up shot
The shortest distance between two points is a straight line. It
follows that the player who succeeds in making an interception or
108 DEVELOPING INDIVIDUAL ATTACK ABILITIES
in gaining the lead on the opponents in a fast break down the
center of the court should stick to the straight line. This will bring
him toward the basket directly in front of the hoop. The shooter
should focus his eyes on a target spot on the backboard and lift
the ball over the front rim with his best shooting hand. The ball
should be aimed at the target spot on the backboard and released
with a slight downward "drag" of the fingertips.
If the player cannot master this shot (many short players find
it difficult) he should swerve slightly left or right so that he can
use his best shooting hand to lay the ball against the backboard
from the side of the basket.
two-hand underhand lay-up shot
This is the oldest shot in the game, but it has lost much of its
popularity because of the development of the one-hand overhead
lay-up. However, many players still use it when they are closely
pursued by an opponent since the ball can be shielded with the
body. The ball is carried up with two hands and is laid against
the backboard from the usual one-two take-off. If the player is right-
handed he will usually take off from the left foot on the "two"
count, and vice versa if he is left-handed. The ball is carried for-
ward and upward and is released from the fingers with the arms
fully extended.
Some players utilize this shot when driving down the center of
the free-throw lane to a point directly in front of the basket. The
shot may be banked or played clean and the body is carried through
the air in a long "hesitation" leap following the usual one-two
count. The arms lift the ball upward and forward and it is re-
leased with reverse spin from the fingertips.
one-hand underhand lay-up shot
The one-hand underhand lay-up shot is similar to the two-hand
underhand. However, it permits more freedom owing to the greater
DEVELOPING INDIVIDUAL ATTACK ABILITIES 109
reach and a more complete follow-through. The take-off is the
same as for the one-hand overhand lay-up.
two-hand overhead lay-up shot
This shot is used by tall players who receive a high pass when
they have cut close to the basket and have little time to do more
than leap in the air. The ball barely comes to rest in the hands be-
fore it is placed against the backboard or dropped over the rim. It
is highly effective when the passer has utilized a fake shot pass to
trick the shooter's opponent into turning toward the basket to get
position for the rebound.
twisting lay-up shot
This shot is used by a player when he is closely played and can
only get the lay-up away by turning or twisting so that his body is
between the ball and the opponent. The shooter may use one hand
or two hands for this shot and it may be made underhand or over-
hand.
under-basket buttonhook shot
This shot is made when a dribbler is forced under the basket or
is too closely guarded to attempt a lay-up. He continues on around
and under the backboard to the other side of the basket and "but-
tonhooks" toward the court. The ball is laid up against the back-
board with a one-hand overhand shot. Naturally, the player may
use a straight overhead sweep, or he may stop and use the jump-
push shot, or he may attempt a half -hook shot.
running one-hand shot
The running one-hand shot is, as the name implies, a shot at-
110 DEVELOPING INDIVIDUAL ATTACK ABILITIES
tempted while in motion. It is a facing shot and is usually taken
when the shooter's path to the basket is blocked. As the player
takes off on the one-two count, he lifts the knee on the side from
which he is shooting. The knee is drawn up waist-high as the
player releases the ball from the fingertips of his fully extended
arm. If it is taken from a position in front of the basket, it should
be a clean shot. If it is attempted within the banking area shown
in Chart 25, it should be banked against the backboard.
one-hand set shot
The one-hand set shot is an excellent scoring weapon after a hard
drive and a quick stop. The best results will probably be achieved
by throwing a hard stop and then pulling the advanced foot back to
gain body balance. This will transfer the weight to the forward
foot. The right-handed player should throw his stop with the left
foot in the advanced position. When the stop is thrown, the weight
will be well forward but can be brought back under control by pull-
ing the left foot back as a steadying factor. This movement will
result in transferring the weight to the forward or shooting foot,
which should be pointing directly toward the basket.
The ball is brought up and back over the shoulder to eye level.
A slight jiggle of the ball as the player eyes the target will loosen
the forearm, wrist, and fingers, and the snap of the knees forcing
the body up on the toes is coordinated with the full extension of
the shooting arm. The ball is released with the fingertips; the
follow-through leaves the back of the hand pointing toward the
basket with the fingers extending downward toward the floor.
one-hand overhead shot
This shot is made in the same manner as the one-hand set shot
with the exception that the ball is carried above the head and the
arm is fully extended before the shot. The ball is usually supported
DEVELOPING INDIVIDUAL ATTACK ABILITIES 111
by the left hand, the release for the shot being accomplished by a
shoving motion of the nearly straight arm. A slight elbow bend ac-
companied by a wrist flip, which forces the fingers to release the
ball and follow through, completes the shot. Naturally, the target
is the bisected front rim and the eyes should remain focused on
this spot.
the two-hand set shot
The two-hand set shot is, as the name implies, a time shot. If
the player does not have time to get the ball away, he should forget
the shot and get rid of the ball.
In making the two-hand set shot, the body is slightly crouched
with the weight on the balls of the feet. The ball is held loosely in
the tips of the fingers (avoid pressure by the thumbs) with the
elbows carried close to the sides of the body. The ball is carried
to eye level and aimed like a gun at the center point of the front
rim. A slight jiggle of the ball should be made as it is brought up
to the aim position (eye level).
When the player is ready to shoot, the ball is dropped slightly
to unlock the wrists and the body drops slightly toward the floor as
the knees lower for the power snap. As the ball starts back up
from the unlocking, the knees snap back and a slight leap is made
from the floor. The extension and the straightening of the arms
propels the ball toward and over the rim in a medium arc.
The snap of the fingers outward forces the thumbs downward
and the hands continue to reach after the speeding ball as if to
continue onward and grasp the front of the basket rim. The eyes
should not follow the flight of the ball but should remain concen-
trated on the rim. The shooter should have the feeling that he is
reaching right up to the rim and dropping the ball down through the
hoop.
The feet are separated a little less than the width of the shoulders
with one foot slightly behind the other before the leap from the
112 DEVELOPING INDIVIDUAL ATTACK ABILITIES
floor. Some players use a skipping motion in which the rear foot
lands in front following the leap.
two-hand overhead set shot
The two-hand overhead set shot is best executed by tall players.
Few small players have been successful with this type of set shot
since it requires considerable wrist and finger strength. Use of the
arms in a throwing motion means that the player is doing just that:
throwing, instead of shooting the ball. Further, one of the chief
advantages of the small player is his proximity to the floor. By
lifting the ball over the head he is limiting his options.
The shot is made in exactly the same manner as the two-hand
overhead set shot. The ball is jiggled by the wrists as it is aimed
and the release ends with the thumbs extending toward the floor
and with the fingers reaching toward the basket. The follow-through
ends with the thumbs extending toward the floor and the hands and
fingers reaching for the basket. This finish requires that the backs
of the hands be close together. Most tall players execute this shot
from a standing position and do not leap from the floor.
two-hand overhead jump shot
The two-hand overhead jump shot is made in the same manner
as the one-hand jumper except that the ball is carried above the
head instead of over the shoulder. The player's usual shooting hand
will dominate in the shot. The other hand supports the ball and will
finish lower in the follow-through, because of the necessity of
strong wrist action.
When held evenly with the two hands, the ball is best controlled
by releasing it with an outward snap. This snap action thrusts the
thumbs downward; the outstretched hands finish in a back-to-back
position.
DEVELOPING INDIVIDUAL ATTACK ABILITIES 113
the two-hand pump shot
This shot is popular with some Western players and is similar
to the two-hand overhead jump shot. The pump shot is executed
while the player is in the air; it gets its name from the pumping ac-
tion of the arms and legs just before the ball is released. The ball
is carried behind the head as the player leaps in the air. The knees
are bent so that the feet are brought up behind the upper legs. The
player holds his body motionless in the air for a brief moment and
then releases the ball with a forward and upward swing of the arms
and a downward snap of the legs.
one-hand jump shot
The jump shot is the most popular shot in the game. Originally
developed in the West, it gained popularity in the East and Middle
West following Hank Luisetti's brilliant scoring demonstrations
while he was on a tour of these sections of the country as a mem-
ber of the fine Stanford team.
Every player uses the jump shot today. Some players use it ex-
clusively. It is a splendid scoring weapon when used within reason-
able distance from the basket and, so far, no consistent defense has
been found to check its effectiveness.
The shot usually follows a dribble in which the player executes
a hard stop. The player should bring his feet close together after
the stop in a jumping position. Here, it is important to note that
the true jump shot is made straight up from the "stop" position. A
stop followed by a forward leap with one knee raised is simply
another form of the running one-hand shot. The sudden stop, fol-
lowed by a leap high in the air, gives maximum protection and is
the chief reason no effective defense has been developed.
As the feet are brought together, the player should crouch in a
jumping position and, at the same time, rotate the ball so that he
114 DEVELOPING INDIVIDUAL ATTACK ABILITIES
has it in shooting position with his shooting hand on top of the ball.
With the leap, the ball should be carried to a position as high over
the right shoulder as the extended arm will permit. The ball is sup-
ported by the left hand for a right-hand shot; the left hand should
force the ball back until the shooting hand is under the ball with
the palm facing directly upward. The elbow and the wrist snap the
ball upward and forward and it is released from the fingertips.
Again, the eyes should concentrate on the rim target to insure
a complete follow-through. Some players become so adept with this
shot that they can use a fall-away technique and get the shot off
even though they are closely guarded.
tip-in shot
All ballplayers should practice this "gift" basket. Pivot, post,
and corner men are usually assigned follow-in duties, and at this
point the tip-in shot is a demoralizing weapon. Although the ball
may not be touched while it is on the rim, practice will enable the
player to master the timing necessary to meet the ball as it leaves the
rim or the backboard. Some extremely tall players have sufficient
coordination, timing, and control to play the shot clean, but best
results are achieved when the ball is tapped back up against the
backboard at the correct angle.
Players should first be taught the two-hand tip-in shot to master
timing and control of the ball. After they have acquired the neces-
sary timing and good two-hand control, the use of one hand should
be fairly easy. The ball is met at the height of the leap and the
hand should "give" slightly to gain control and power. Then the
ball should be propelled up against the backboard with a slight
forward snap of the fingers.
dunking and over-the-rim shots
As previously discussed, dunking is a must for the tall player.
DEVELOPING INDIVIDUAL ATTACK ABILITIES 115
Practice of this skill provides splendid jumping and timing practice.
Some tall players use the dunking or over-the-rim shot in actual
games but its chief value, for most players, is in the development of
timing and jumping.
BACK-UP SHOTS
A pivot or post player is usually stationed with his back to the
basket so that he may serve as a blocking post and hand-off feeder
for cutters. The team-value of this player increases greatly when
he is also a scoring threat. Dutch Dehnert, passing wizard of the
original Celtics, originated this important feature of the game thirty
years ago and used it as a passing medium.
Today the pivot or post player is still used as a "feeder" but he
has also become a dangerous scorer. A variety of shots have been
developed, and modern pivot and post players are expected to carry
their share of the scoring burden.
straight turn shot under basket
The straight turn shot is the basic shot for the pivot player who
favors a shooting position just outside the lane on either side of
the basket. Best usage of this shot calls for a sudden turn and lift
of the ball as high as possible before the release. Most pivot men
lift the opposite arm and elbow as high as possible to provide addi-
tional protection for the shot.
The shooter makes a complete turn and, when the ball is re-
leased, is facing the basket for a quick follow-in. This shot may be
made from the floor or following a leap in the air. Many players
precede it by a fake step-away or turn into the lane.
step-away shot under basket
This is a standard pivot shot. It may be made with a turn toward
116 DEVELOPING INDIVIDUAL ATTACK ABILITIES
the basket, as in the straight turn shot, or may be made by use of
the hook. If a player is able to get the ball close to the basket, a
fake jump, straight turn, or turn into the lane may precede the
step-away with good results. Most pivot men use the step-away
when they are well guarded and find it difficult to get a close-up
shot away.
up-and-under shot
The up-and-under shot makes use of the floor area between the
basket and the baseline. The player usually fakes a hook, jump,
step-away, or turn into the lane. Then he dribbles under the basket
and toward the baseline, emerging on the other side of the basket.
He may use a buttonhook, a straight turn into the lane, a shot with
the inside hand, or a jump push shot.
one-hand jump-twist shot
This shot resembles the straight turn shot from the side of the
lane. The player leaps directly upward from the floor and twists his
body toward the basket. As he leaps upward, he raises the ball
above his head and uses a semi-hook shot. It is a specialty shot to
be used by the tall pivot player; if he can master accuracy he will
have a fine scoring weapon.
the hook shot (left and right)
This almost unstoppable shot should be used near the basket.
Unless attempted in the backboard shooting area, it should be a
clean shot released from the fingertips high over the head. The shot
may be made following a step-away or while cutting across the
court. The player is facing away from the basket and shoots with
the hand away from his opponent using his body as a shield.
DEVELOPING INDIVIDUAL ATTACK ABILITIES 117
The shot is taken from the foot nearest the basket and the leg
on the side of the shooting hand is raised from the floor as in any
use of the one-two count.
The shooter may leap from the floor or take the shot in stride.
Naturally, the hook shot is more effective when used by a tall player
and less likely to be blocked. In fact, it is a standard stock-in-trade
weapon of the tall man. The arm is* held fairly straight with but a
slight elbow bend and the ball is swept upward in a full arc to a
position almost directly over the head. The palm should not touch
the ball in this upward sweep; when the hand reaches its highest
point the ball is released from the fingertips.
As the shooter takes his first stride of the one-two prior to the
lift of the leg on the side of the shooting hand, he should twist his
head fully so that he can focus on the rim target. This is hard to
teach because most hook shooters get into the habit of sweeping the
ball around and over the head and releasing it in the general direc-
tion of the basket. Some shooters can score consistently in this
manner but a check of their success usually reveals that they make
this "blind" hook shot from the same position in the vicinity of the
basket. The player who depends upon the use of the hook shot from
any position must first focus his eyes on the target and then release
the ball. ,
the half-hook shot
The half -hook shot is used when the pivot shooter secures a good
position near the basket. He turns in toward the basket as in the
straight turn shot and then hooks with his body between the ball
and his opponent. The raised arm and elbow increase the distance
between the opponent and the ball. The half-hook shot usually fol-
lows a fake under-and-up drive, or an underhand lay-up. The
shooter should bear in toward the basket if the opponent attempts
to ride him out of position.
118 DEVELOPING INDIVIDUAL ATTACK ABILITIES
two-hand underhand sweep shot
The underhand sweep is a legitimate shot, although many pivot
men use it to draw fouls. When preceded by a lift of the head and a
fake hook or turn shot, it usually comes as a surprise to the op-
ponent. The ball is swept back toward the basket and up under the
opponent's arm, accompanied by a turn of the body. The ball is re-
leased with a flip from the fingertips and the thumbs are thrust up-
ward to impart a forward spin to the ball.
one-hand underhand sweep
The one-hand underhand sweep is similar to the two-hand shot
except that the player may lift the arm next to the basket and direct
the ball toward the target-spot on the backboard with his shooting
hand. This under-the-arm shot often catches the opponent by sur-
prise. The shot is more deceptive than the two-hand shot but not
quite as accurate.
DIAGONAL SHOTS
These shots are made while the player is cutting diagonally across
court under or in front of the basket. The ball is released from the
fingertips on the regular one-two count with a slight turn of the
body as the player springs from the foot opposite the shooting hand.
Though it is an overhand shot, a hook or half -hook is often used.
Greater accuracy is obtained by an inward turn of the body accom-
panied by a thrust of the elbow and the shooting hand toward the
basket.
diagonal hook shot
This shot occurs when the player cuts diagonally in front of the
DEVELOPING INDIVIDUAL ATTACK ABILITIES 119
basket and is forced to continue his direction by the close guarding
of his opponent. Some players will use the diagonal hook shot in
this situation. It is executed in the same manner as any other hook
shot but the shooter must keep in mind that he is traveling away
from the basket and is in a poor shooting position. It is a ques-
tionable shot.
diagonal stop-jump shot
As in the diagonal hook shot, the player is in a poor shooting
position. Even though he may stop and get the jumper away, it is a
questionable shot since he is facing toward the corner and must
turn toward the basket. The player should throw a hard stop, gather
his feet and spin so that his body is facing the basket when he leaps
to release the ball. Otherwise, the shot is executed exactly as in the
facing stop-jump shot. A good point to remember here is that the
ball should be turned to the shooting position before the leap is
made. The shooting hand should be above and the other hand un-
derneath to support the ball.
one-hand jump push shot
This shot is a favorite with the pivot player who succeeds in
gaining a good back-up position outside the lane near the basket.
The shot is banked against the backboard with the inside hand fol-
lowing a leap in the air. Best results are achieved by looking up at
the basket over the inside (next-to-the-basket) shoulder and then
rising on the toes and lifting head and shoulders with a slight up-
ward movement of the ball to simulate an actual shot. This move-
ment is followed by the actual shot.
The ball is held in the fingertips and, on the shot, the hand is
turned so that the palm faces the backboard. The player accom-
panies this movement with a leap from the floor and banks the ball
against the backboard with a reverse flip of the fingers.
120 DEVELOPING INDIVIDUAL ATTACK ABILITIES
FREE-THROW SHOTS
The value of the free throw is recognized by every coach in the
game. While coaching in high school I taught the underhand
method. In college coaching I usually allow the players free reign
since I believe it is too late to change their style. If, however, the
player's free-throw average is erratic, or if he fails to improve with
constant practice, I believe in making a change.
Every player is expected to make at least 50 free throws every
day. The players shoot fouls during scrimmages and between drills.
A good feature of any practice is to run the players in the fast
break or some full-court drill and then, while they are bushed, re-
quire them to make five free throws.
two-hand overhand free throw
The two-hand set shot is favored by many backcourt players who
use it in their regular floor play. The free-throw technique is ex-
actly the same as that used from the field except that the skip or
leap from the floor is eliminated. To make up for the lost jumping-
power, the knees snap sharply back from their flexed position and
the ankles extend and raise the player to his toes as the ball is
released.
The eyes are focused on the bisected rim and continue this con-
centration before, during, and after the shot.
two-hand overhead free throw
Tall players who use this weapon from the field often prefer it
from the free-throw line because it is added practice in one of their
specialty shots. The technique is the same as in the two-hand over-
hand set shot. Since most tall players omit the skip or jump when
attempting the shot from the field, the same procedure is used from
the free-throw line. This shot is not recommended for short players.
DEVELOPING INDIVIDUAL ATTACK ABILITIES 121
SHOOTING TIPS
1
Hold the ball loosely in the fingtertips and avoid pressure by
the thumbs.
2
Concentrate on the target before, during, and after the shot.
3
Follow through. Lifting the head to watch the ball forces the body
back and curtails a complete follow-through.
4
Spin the ball. A spinning ball indicates control. Control means
accuracy. Use natural spin (reverse).
5
Shoot with confidence. Be sure the shot will be successful. Reach
way up there and drop the ball through the hoop.
6
Be sure you have good body balance before you shoot. Square
the shoulders, hips, and feet to the basket. Be loose.
7
In your practice shooting, get the ball away quickly. But be sure
you have developed the proper techniques until they are second
nature.
8
Know the floor positions from which you shoot best and move
from place to place so that you will immediately know whether
you should shoot "clean" or use the backboard.
9
See your shot before you shoot. Estimate the distance, the arc,
and the power required. Then, after you have visualized the
shot— let her gol
10
Be a team player. Attempt only good shots. If you are not in a
good shooting position, if you do not have good body balance
or do not have time to take a good shot— pass the ball.
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One-Hand Set Shot
Good form is demonstrated in this use of the one-hand set shot.
The player carries the ball chin-high and is concentrating on the
rim. As he lowers his body with the knee bend, the wrists drop
slightly to unlock. The knees snap back and the ball is brought
back to the shoulder position. Then, with a slight leap, the ball is
released. (Note the excellent finish. The arm is fully extended and
the fingers have followed through and are pointing down toward the
floor. ) ~~
Two-Hand Set Shot
The feet are apart with the left foot in advance of the right. The
player is "aiming" the ball at the basket. As he bends the knees,
there is a slight drop of the ball to unlock the wrists. The ball is
brought up and released toward the basket with a slight hop from
the floor (the distance determines the degree of spring necessary).
Note the excellent finish with the eyes still focused on the target and
the hands together with the fingers spread.
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One-Hand
Jump Shot
HBHBak mm ' ^H
The player is coming in at full speed. He throws a hard stop and
gathers his feet for the leap. Note that he has concentrated his eyes
on the hoop from the very beginning. As the player leaps in the
air the ball is brought overhead. The left hand pushes the ball back
and the forward snap of the right wrist and hand propels the ball
toward the basket. The player has finished with the palm facing the
basket. The fingers should follow on through from this position
until they are pointing toward the floor.
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Hook Shot
Hook Shot
(page 128-9)
The pivot player 41 has received the ball near the lane. He
fakes a right turn into the lane without moving the feet. Then he
reverses quickly and slides his left foot along the lane toward the
basket and takes off for a right-hand hook shot. Note that he has
protected the ball with his left elbow carried high and that he has
brought his right knee up high for coordination.
Jump Push Shot
(page 132-3)
The pivot player 41 receives the ball in a good shooting posi-
tion. He turns to his left and springs straight up from his position.
The ball is banked against the backboard with the left hand and the
shot ends with the hand turned left so that the palm faces the back-
board. This shot will be more successful if a good fake with hand
and ball is accompanied with a rise to the toes and with a good head
and eye feint. Following the fake and feint the ball is brought down
and then the shooter actually goes back up with a full leap and
banks the ball against the backboard.
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Jump Push Shot
Slide Along Lane and Jumper
The pivot player 41 feints right with his shoulder and head and
then takes a short step toward the basket with his left foot, drop-
ping the ball to the floor at the same time. As he regains the ball,
he takes a long stride with his left foot and feints with his eyes and
head as if to continue on under the basket. Then he executes a hard
stop, gathers his feet, and leaps high for the right-hand jump shot.
Drive Under Basket
From Post
Position
The post player fakes right with ball and right foot and then
drives under the basket to the opposite side of the lane. Here, he
executes an inside (right-hand) lay-up. Note that the shooter 41
has taken off from his left foot and has raised his right knee high
on the shot. When a post or pivot player drives across to the op-
posite side of the lane he can use a great number of shots to score —
a right-hand buttonhook, a left-hand turn, a turn into the lane fol-
lowed by a right-hand turn or hook shot, a two-hand overhead
lay-up, a stop-jumper with the inside (right hand), or a stop-and-
jumper.
Pivot Dribble
Into Lane with
Jump Shot
The pivot player executes a foot-and-ball fake to his left and
then dribbles right into the lane. He throws a hard stop facing the
basket, gathers his feet, and leaps into the air for a jump shot.
Two-Hand
Underhand Sweep
Shot
The pivot player 41 executes a head feint and a ball fake to his
right. He turns back to the left and carries his body as though to
attempt a hook shot. At the last instant he turns in and sweeps the
ball upward against the backboard with a two-hand underhand
sweep.
Player 32 receives the ball just before his right foot strikes the
floor. He takes a long stride with his left foot and then hesitates
for the upward leap toward the backboard. The takeoff is properly
made from the left foot for the right-hand shot. Note that the ball
is carried high toward the spot on the backboard. Many players
miss this easy shot because they continue the left-foot stride (shown
above) with another long stride of the right foot. This means the
player executes a "broad" jump instead of a "high" jump.
One-Hand Underhand Lay-Up Shot
This shot is frowned upon by many coaches since the hand is
under the basket, and if the player is caught too far under the shot
may be missed. The player has good body balance in this picture
taken in an actual game.
Right Hand Overhand Lay-Up
In this "game" shot player 40 has executed a fine "high" jump
and is going to lay the ball against the backboard. The eyes are
concentrated on a spot on the backboard.
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Left Hand Lay-Up
Player 40, a natural Rightie, is executing a left-hand lay-up in a
vital game. Note the concentration and the body control. Also the
height of the leap.
One-Hand Jump Shot Hand Technique
Note the high leap, the protection by the left hand, and the
height of ball owing to straight right arm. The ball is controlled by
the fingers (the palm is not touching the ball).
Follow-Through After One-Hand Jump Shot
This is a fine photo of the fingertip control and follow-through
of a one-hand jump shot in an actual game. Form pays off. Always!
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building a style
of play
THEORY OF TEAM OFFENSE
the two-three
It is my opinion that the "Two-Three" offense is the best in
basketball. It is flexible enough in attacking the man-to-man,
switch, and combination defenses to permit the use of the five-man
give-and-go weave, the four-man weave with a post or pivot, the
four-man roll with a post or pivot, the five-man roll, and the Three-
Two offense. With a little variation, it is versatile enough to meet
the various zone defenses.
I believe in equipping the team with a number of offenses so
that we will be prepared to cope with the straight, loose, tight, sag,
and floating man-to-man; switching; the man-to-man or zone press;
and/or the basic zone defenses.
Position responsibilities in the Two-Three offense are as follows:
The players in the back line are known as backcourt players and
are expected to be fine passers, excellent outside shooters, expert
dribblers, fast-break specialists, and attack organizers (quarter-
backs). Two of the front-line players are called corner men and
are stationed in the left and right corners. The third man is known
as the post or pivot player and works along either side of the free-
throw lane and /or in the outer half of the free-throw circle.
150
BUILDING A STYLE OF PLAY
151
Chart 27
BASELINE
Position Allocations. Players one and two are back-line (back-
court) players. Player four and Player five are front-line (corner)
men, and Player three is the third front-line (pivot-post) man.
152 BUILDING A STYLE OF PLAY
The corner players should, preferably, be tall and fast and
capable of working at the post or pivot position. They should be
good shots from the corners and sides of the court, masters of the
jump shot, expert at driving along the baseline or out toward the
outer half of the free-throw circle, possess strong follow-in ability,
and be good rebounders.
The pivot or post man should be a good passer, master of the
various pivot shots, a good defensive player, and an expert re-
bounder.
One of the best methods of selecting players or determining the
most outstanding is to play one against one. And, in the basic of-
fense (Two-Three), the value of "one-on-one" play is not over-
looked. Thousands of clutch games are won each year because a
particular player on one team is superior to his opponent in one-on-
one play and the team is smart enough to find it out and take ad-
vantage of the opportunity.
Naturally, the use of the one-on-one requires freedom and room
to work. This means that the pivot or post player must be able to
work from a corner or, if necessary, from the backcourt. This will
help to keep the center of the court open and will provide the
one-on-one player with enough room in which to maneuver.
Our use of the Two-Three offense is designed to give the players
a certain amount of freedom yet force them to merge into a cohesive
unit through a method of circulation that maintains floor balance.
The backcourt players are responsible for court balance and are
expected to initiate and set up the plays. They are regarded as
quarterbacks, although this responsibility will usually be taken over
by the most aggressive and dominant "sparkplug." The two back-
court players employ inside, outside, and back screens, give-and-go
tactics, and dribble screens and blocks. They are responsible for the
movement of the ball and for offensive as well as defensive balance.
In moving and handling the ball, the backcourt players are
joined and supported by the corner men. The corner men are ex-
pected to come out to the backcourt to supply defensive and court
BUILDING A STYLE OF PLAY 153
balance when a backcourt teammate cuts for the basket. This is one
of the vital reasons for including them in the four-man weave.
Big men are effective in setting up post-screens. When a smaller
teammate cuts around them, a switch may develop. If so, it will pit
the smaller backcourt player against a taller opponent who may not
be able to match the cutter's speed. The corner men are expected
to supplement the post-pivot player in offensive rebounding.
Development of a tall, strong player for post-pivot duties is im-
portant. This player is the key man in the Two-Three. He should
have good footwork, be able to rebound, block, and handle the ball.
Unless he has obtained a good scoring spot near the basket and a
teammate in possession of the ball is in a favorable "feeding" posi-
tion, he should meet all passes, using his legs and body to block his
opponent away from the ball. The pivot-post man should be able
to blend in with the give-and-go weave and should be an expert at
one-on-one play.
Offensively, it is a coach's responsibility to see that his team is
equipped for the following game situations:
OFFENSE CHECKLIST
1
To control or steal the tap
2
Jump-ball plays
3
Out-of-bounds plays
4
The fast break
5
The single-pivot offense
6
The single-post offense
154 BUILDING A STYLE OF PLAY
7
A spread offense (center kept open)
8
Crash the offensive backboard
9
Possession of the ball (the stall)
10
Freeze the ball
11
Meet the press (man-to-man and zone)
Semi-press
Half-court press
Full press
12
Beat the sag and float
13
Attack the man-to-man variations
14
Penetrate the zones
ADVANCING THE BALL
Advancing the ball to the front court is not as simple as it may
appear. Not infrequently a game is lost or an important basket is
scored through an interception on the pass-in from out-of-bounds
under the opponents' basket. Following a score, a player of the
team that has just scored the basket may play "dummy" and start
up court. Then, with perfect timing, he will turn and make the
interception. An easy two points usually follow. This interception
is usually made because the player taking the ball out of bounds
BUILDING A STYLE OF PLAY 155
makes a hurried or careless pass to a teammate, disregarding the
nearby opponent.
Advance opportunities follow interceptions, recovery of loose
balls, rebounds, held balls, out-of-bounds plays, a scoring shot from
the field, or following a successful or unsuccessful free throw.
Surprise defensive moves are the rule rather than the exception
in basketball as it is played today. Many of these surprise defenses
are applied before the ball crosses the ten-second line. Today, the
press or some other form of a forcing defense is used at one time
or another in practically every game played.
The advance following an interception, recovery of a loose ball,
or a "deep" rebound is made so quickly that the opponents usually
forget everything except speeding for their defensive positions at
the other end of the court. Under these conditions, use of the press
or some other form of a forcing defense is impossible. However, fol-
lowing a free throw, successful or not, an out-of-bounds play, a
successful shot from the field, jump-ball situations, and most short
rebounds — some sort of the press is possible.
If the opponents are behind in the score, such surprise tactics are
to be expected. Most assuredly the well-coached team should be
prepared to meet these defensive moves.
Front-line players often break upcourt to reach their attack posi-
tions immediately after a score. Quite often, too, they turn their
backs and leave the backcourt players to bring the ball upcourt as
best they can. Here, a careless dribbler may fall for an opponent's
dummy play and a sudden attack may result in loss of the ball. In
some cases the two backcourt players may pass the ball back and
forth while advancing upcourt and be unprepared for a sudden
defensive move.
The coach must make sure that his team is prepared to meet any
and all of these surprise moves in the slow advance. Front-line
players must be coached to advance with their eyes focused on their
backcourt teammates, prepared to break back toward the ball
should help be needed.
156 BUILDING A STYLE OF PLAY
The player taking the ball out of bounds following a score should
always watch nearby opponents and use a fake before releasing the
ball. Dribblers should protect the ball by dribbling more slowly and
carefully, making sure that a teammate is near at hand should a
sudden pass be necessary. If two backcourt players are passing the
ball back and forth while advancing, they should make sure their
passes do not take them too close to opponents.
When scouting notes or bitter game experience warn a team that
the opponents use these surprise moves, three men may be assigned
to bring the ball upcourt in the slow advance. These players may
use screening tactics for the advance, weaving and cutting from
side to side to protect the ball.
THE FAST BREAK
The fast break is the most important offensive system in basket-
ball. It is used by practically every coach in the game, and its
effectiveness is usually determined by the amount of time spent in
developing and exploring its possibilities. The chief objective is to
advance the ball into a scoring area before the opponents have a
chance to get into defensive position. Second in importance is the
outnumbering of the defensive opponents so that an attacking player
may secure an unguarded shot.
Efficient use of the fast break results in numerous easy and quick
scores which often demoralize a good team. The fast break is color-
ful, full of sparkling plays, and a sure crowd-pleaser. All players
enjoy the action because of the speed and dash with which it is
executed.
Some coaches advocate the use of a weave in the break down the
floor. Others operate on the theory that a straight line is the short-
est distance between two points and advance their players in straight
lines. One coach advocates the use of the short pass while others
feature the long pass. Another coach attempts to eliminate the
dribble, and still another believes it is the best and safest method
possible to advance the ball.
BUILDING A STYLE OF PLAY 157
Some teams employ the "press" during the entire game, and it
may well be said that their offense is a consistent and continuous
use of the fast break. However, these teams are in the minority; the
majority of coaches believe in combining use of the fast break with
a set or formal offense.
The fast break is a team offense. It lends itself to innumerable
plays and can be used following every recovery of the ball. I believe
in a controlled fast break with an emphasis on short passes. If the
fast break is to be most effective, the 'team must be aggressive and
prepared to take chances. Since it is important to get down the
floor as quickly as possible, certain players often break before their
team gains possession of the ball. In a number of instances a team-
mate may be in an uncontested position to secure possession of the
ball and the quick dash downcourt may result in a long, successful
pass and an easy basket.
The fast break from a man-to-man defense differs greatly from
the break from a zone defense. In fact, many coaches feel that the
positioning of the "chasers" and the "rebounders" and the ease with
which a fast break may be initiated are the determining factors in
recommending the use of the zone as the basic defense. Since the
zone players have assigned areas (even when shifting), the re-
bounder can easily locate a receiver for his outlet pass. Further,
use of the zone enables the coach to place good rebounders near
the basket and the fast cutters in fast-break positions.
The long pass is the most difficult pass in the game. Some players
never master the control necessary to use it accurately, and many
players have difficulty in catching the speeding ball. Further, the
long, diagonal outlet pass lends itself to more interception oppor-
tunities than the short pass. A long pass should not be made to a
teammate unless he is all alone or there is plenty of daylight around
him.
The dribble is of great value in the fast break because it limits,
to a certain extent, bad passes and fumble possibilities. In certain
situations the dribble is the best weapon to use in avoiding intercep-
tion attempts. In addition, the use of the dribble in the center lane
158 BUILDING A STYLE OF PLAY
after the front court is reached places the ball in the middle of the
floor and gives the outside-lane cutters more freedom in maneuver-
ing for good shooting positions.
In some fast breaks, teammates in the outside lanes wait until
the receiver of the outlet pass gets the ball before advancing down-
court. This spreads the breaking players across the court in a
straight line and, of course, insures better passing. In other usage
of the fast break the players make every attempt to get ahead of the
ball. They drive for their basket immediately, filling the closest lane.
Properly used, this is not a haphazard advance. The man with the
ball is able to speed the advance since he has receivers ahead to
whom he can pass. The players out in front of the ball are moving
in predetermined paths and expect the ball. If they are advancing
properly, one of the "sweepers" will usually be in a good position to
receive the pass.
The following principles are recommended.
FAST-BREAK PRINCIPLES
1
Every player on the defense should be fast-break conscious. He
should be aware of his rebounding and lane responsibilities
should a fast-break opportunity present itself, and he should im-
mediately execute his move.
Fast breaks develop out of fumbles, interceptions, loose balls,
backboard rebounds, successful and unsuccessful field and free-
throw attempts, jump balls, and out-of-bounds situations. Natu-
rally, the break starts from the point at which the ball is recov-
ered. The players should be so schooled in the method of advance
and the techniques of the particular fast break required that they
react from any of the above situations without the slightest hesi-
tation.
Since the majority of fast breaks develop from rebounds, secur-
ing the ball is of vital importance. Following a shot, all defen-
BUILDING A STYLE OF PLAY 159
sive players should first get position between their opponents
and the basket. After a good blocking-out position is obtained,
the defensive player divides his attention between his opponent
and the direction of the rebound. When the direction of the re-
bound has been clearly determined, the player may leave his
opponent to catch the ball.
All too frequently, when a shot is taken, a defensive player in
a good blocking position will turn away from his opponent and
hazard a guess at the direction of the rebound. Should a deep
rebound result or should the ball be deflected in another direc-
tion, his opponent may make the recovery simply because he has
not been properly blocked away from the basket.
The rebounder should get the outlet pass away quickly and
safely. He should then back up the pass in case there is an inter-
ception or a fumble.
Filling the fast-break lanes should be initiated as soon as the
ball is safely in the hands of the rebounder. The players nearest
the sidelines should fill the outside lanes. They should move
laterally and in such manner that they can see the ball. Before
reaching the sidelines they should turn inward and be prepared
for a pass should the rebounder so elect.
The player who normally fills the middle lane should be given
the opportunity. However, if he is the rebounder, or is in a poor
position, another player should fill the lane and fulfill the neces-
sary requirements.
Following the outlet pass, all others should be short and fast.
The dribble should be eliminated unless the player is caught in
a poor passing position and must dribble to avoid travelling. In
some situations the player is forced to dribble because potential
receivers are covered. The three players in the first wave should
continue downcourt on straight lines, passing the ball from side
to side until the front court is reached. By this time, the scoring
possibilities are evident. A three-on-two or even a three-on-one
situation may be present.
160 BUILDING A STYLE OF PLAY
As soon as the possible scoring situation is evident, the players
should maneuver for the open shot. If the player driving down
the center lane has been able to get the ball as he reaches the
outer half of the free-throw circle, he should stop just short of
the free-throw line and prepare to attempt a shot. If a defensive
opponent attempts to stop the shot, one of the outside-lane
sweepers will be free for the pass and should have a clear shot.
Charts 29-32 show, in some part, the use of the fast break from
certain game situations. Space does not permit presenting all the
situations from which a fast break originates, but the principles
used are effective in the great majority of fast-break opportunities.
The inside rebound area (see Chart 28) is to be filled with the
expert rebounders when possible. They fill the spaces under the
basket until they form a triangle. These positions should be ob-
tained only after they have blocked their opponents away from the
basket. In this connection, many tall rebounders develop the ability
to retrieve the ball at the height of their leap, twist in the air, and
fire an outlet pass accurately before hitting the floor. The hook
pass is usually employed in this "in-the-air" pass.
The safety area for rebounders is located just outside the inside
rebound area and is used only when the rebounder cannot get the
ball away. He may dribble to this safety area or pass the ball to a
teammate in the area. Rebounders are frequently guarded so closely
that they cannot make an immediate outlet pass. In this situation
the rebounder may whirl suddenly and dribble out of the rebound
area and downcourt before passing.
The short-pass area begins at the free-throw line and extends
three feet beyond the edge of the outer half of the free-throw circle.
The majority of outlet passes are directed to receivers in this area.
Some fast-break styles concentrate on a direct pass to a dribbler
in the outer half of the free-throw circle after every rebound. The
receiver then dribbles down the center lane while his teammates
BUILDING A STYLE OF PLAY
161
Chart 28
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fill the outside lanes. It is a conservative and highly effective fast
break and eliminates much of the danger of bad passes, intercep-
tions, and fumbles found in the passing game.
162
BUILDING A STYLE OF PLAY
Most coaches feel that it is important to fill the area near the
free-throw line to prevent opponents from obtaining possible deep
rebounds.
The long-pass area extends from the short-pass area to the ten-
second line. Long passes should be thrown to teammates in this
area only when they are completely free. Many outlet-pass inter-
ceptions occur in this area.
The cutting lanes extend from the short-pass area to the front-
court baseline. The inside lane is the most direct to the goal. The
small star in the center lane is placed near the spot where the
dribbler or center man should begin to slow down so that he may
safely stop short of the free-throw line (large star). The right and
left outside lanes extend to the baseline; teammates in this area
should not expect the outlet pass unless they are completely free.
The angles in the front corners of the outside lanes are inserted
to accentuate the importance of sweeping the corners and approach-
ing the basket along the baseline (behind the defensive opponents).
Chart 29
BUILDING A STYLE OF PLAY
163
Chart 29 shows the rebound in operation when a conservative
fast-break style is used. Players A, B, and C are in the triangle
formation under the basket. Players D and E have filled the outer
half of the free-throw circle. When possession of the ball is assured,
players D and E move laterally to the sidelines, crossing one an-
other as shown to escape opponents if being pressed. In cutting
toward the sidelines in this manner they place themselves in safer
positions to receive a pass from the rebounders, since they are mov-
ing slightly toward the ball.
In Chart 29 the ball is being rebounded by player B, who passes
on the same side to teammate E who is moving toward him. Player
E dribbles until he is in the clear or until teammate D has reached
the center lane. Then E passes to D and continues down the left
lane. Player D may pass immediately to teammate C or dribble to
get complete control of the ball before passing. Player A follows
up the center lane as the "trailer." Note that rebounder B has fol-
lowed the ball after passing to E.
Chart 30
164
BUILDING A STYLE OF PLAY
The fast break shown in Chart 30 comes off a zone defense with
the express purpose of getting the ball immediately to the outstand-
ing dribbler and scorer (player D), who drives down the center of
the court. A block may or may not be set by teammate E.
This type of fast break fills the lanes quickly and depends on the
skill of the expert dribbler to advance the ball into scoring terri-
tory. The dribbler is always a dead shot from the free-throw line
where he sets and shoots unless guarded. When guarded, he passes
to one of the sweepers, or to the trailer.
Chart 31
BUILDING A STYLE OF PLAY 165
Chart 3 1 shows the closing phase of the fast break. Player D has
received the ball from teammate C and has slowed down to main-
tain a control dribble and to draw one of the two opponents out to
guard him. Player D will stop short of the free-throw line prepared
to shoot or to pass to sweepers E or C.
If dribbler D has difficulty in attempting a shot or passing to
one of the sweepers, he will cut through the lane toward the basket.
If a pass is made to the right or to the left, the trailer will cut on the
side away from the receiver of the ball.
Note that players E and C have continued on under the basket
and have circled back. This is shown because sweepers often out-
distance the middle man and should do something to distract the
opponents. Continuing on under the basket enables them to ex-
change positions and disturb the defensive players.
It is important that the center lane be filled by an expert dribbler
who is also a good shot from the vicinity of the free-throw line. He
should be a fine passer and able to fake a pass one way and feed
the ball another. Frequently, he can leap in the air, fake a shot, and
pass to the unguarded teammate. Bounce passes are, of course,
imperative in this under-the-basket passing unless a teammate is
completely free.
Chart 32 shows the fast break from an unsuccessful free throw.
(Most unsuccessful free throws rebound to the right. ) Rebounder A
got the ball. As soon as players B, C, D, and E saw that teammate
A made the rebound, they broke as shown.
The takeoff path of player C should force backcourt opponent 5
to retreat to the defense. The dash down the left outside lane by
player D should force player 4 to retreat, thus clearing the way for
player A to make a good outlet pass to teammate B.
Player E should arrive at the center of the court in the center
lane in time to receive the ball from teammate B; he can now pass
or dribble the ball downcourt. Player C often beats the defense back
and, if clear, may be hit with a long pass.
166
BUILDING A STYLE OF PLAY
Chart 32
FAST-BREAK TIPS
I 1
The rebounder should pass to a receiver on the same side of the
court when possible.
Dribbling to the corner gives opponents time to retreat and set
up their defense. Get the ball on its way as quickly as possible
with a pass.
The pass to a teammate in an outside lane should be aimed at
the outside shoulder so he may pivot away from an opponent
who tries to intercept the ball.
4
Outside-lane cutters should get going. They should not wait for
their center-lane teammate. Put the pressure on the opponent.
BUILDING A STYLE OF PLAY 167
5
All passes except the outlet pass should be short. Don't attempt
cross-court passes from one outside lane to the other.
6
If a cutter advances so far ahead of his teammates that a play
is impossible, he should drive along the baseline to the other
side of the court and circle back toward the basket on that side.
Don't be afraid to yell when you are free. And don't yell when
you are not free.
8
Outside-lane cutters should avoid dribbling unless the teammate
in the center lane is covered. Get the ball to the middle of the
court when the front court is reached.
Keep spread in the drive down the court. Outside-lane sweepers
must "square" the corners and continue along the baseline to
the other side of the court if they are "ahead" of the play.
10
The middle man should dribble straight for the free-throw line
and plan to stop there for a shot or a pass to an uncovered team-
mate. However, he should continue his drive when defensive
opponents are out of position.
GIVE-AND-GO WEAVE
The give-and-go weave is the basic circulation used in the North
Carolina University attack. The circulation may start from any
point in the front court but usually begins as in the blackboard
diagram shown here. Player 1 passes to teammate 2 and cuts for
the basket. Note that the cut is made directly down the lane and
under the basket before player 1 turns for the righthand corner to
Give-and-Go Weave
BUILDING A STYLE OF PLAY 169
replace player 4. As player 1 cuts for the basket he raises his left
hand high in the air as a target hand in case teammate 2 wishes to
return the pass.
Player 2 may pass immediately to teammate 3 or dribble as
shown before passing the ball to 3. In the blackboard diagram
shown here player 2 dribbles and then passes to 3. He then cuts
directly for the basket, raising his right hand as a target hand should
player 3 wish to return the pass. When the ball is not returned,
player 2 drives on under the basket and then turns left to replace
player 5 in the corner.
The corner players, 4 and 5, replace the backcourt players and
take their turns in receiving the ball, passing and cutting down the
lane to the basket.
The give-and-go weave is an excellent medium for teaching pass-
ing, cutting, footwork, and teamwork, and in developing player
condition. An important part of the give-and-go weave is the teach-
ing of timing with relation to the execution of passes and player
movement.
Most players like to execute the give-and-go weave at full speed,
but it may easily be slowed down through the use of the dribble
and passing up the next receiver. A change of pace in the use of
this weave may be executed by reversing the direction of the pass.
The give-and-go weave lends itself to the use of inside and out-
side screens and, when incorporated with the dribble-block, change-
ups, and moving posts and pivots, becomes a fine offense.
The weave can be used to freeze the ball. This will be discussed
in Chapter 4 under "freezing the ball."
Charts 33-35 show the use of the weave with inside and out-
side screens and with a post or a pivot.
Chart 33 shows use of the inside screen in the give-and-go weave.
Player 1 passes the ball to teammate 2 and cuts between 2 and de-
fensive opponent B (inside screen). He then cuts back toward the
basket and, if he does not receive a return pass, fades right along
the baseline to the right corner to maintain the continuity and to
replace player 5.
170
BUILDING A STYLE OF PLAY
Chart 33
After receiving the ball from teammate 1, player 2 fakes a re-
turn pass to him and then dribbles laterally across-court. Player 2
then passes to teammate 3, cuts in front of defensive opponent C
(inside screen), and cuts for the basket. If he does not receive a
return pass, he fades left along the baseline to the left corner to
maintain the continuity and replace player 4. The continuity con-
tinues in this manner with player 4 and player 5 replacing player 1
and player 2 and, in turn, using the inside screen and cutting for
the basket.
Chart 34 shows use of the outside screen in the give-and-go
weave. Player 1 passes the ball to teammate 2 and cuts close be-
hind defensive opponent B (outside screen). He then drives for the
basket and fades left to the left corner to maintain the continuity
and to replace teammate 4.
After receiving the ball from teammate 1, player 2 fakes a re-
turn pass to him, advances slightly with a dribble, and passes to
teammate 3. He then cuts close behind defensive opponent C (out-
side screen) and drives for the basket. If he does not receive a
return pass from teammate 3, player 2 fades right along the base-
BUILDING A STYLE OF PLAY
171
Chart 34
line to the right comer to maintain the continuity and to replace
teammate 5. The continuity continues in this manner with player 4
and player 5 replacing teammate 1 and teammate 2 and, in turn,
using the outside screen and cutting for the basket.
Chart 35 shows the give-and-go weave with a post-pivot. Player 1
passes to teammate 2 and screens inside or outside. He then cuts
directly down the lane for the basket and around and in back of
pivot-player 5. He continues along the baseline to the right corner
to replace teammate 4.
After receiving the ball from teammate 1, player 2 dribbles to
the left, passes to teammate 3, and cuts down the lane to and under
the basket and along the baseline to the left corner.
Player 4 has now reached the backcourt. When pivot player 5
moves out along the lane, player 4 cuts hard around the block set
by 5 and drives toward the basket expecting a pass from 3.
If player 3 does not make the pass, pivot player 5 may cut to
the outer half of the free-throw circle and set up a blocking post or
else retreat to a pivot position under the basket (side of the lane).
172
BUILDING A STYLE OF PLAY
Chart 35
Player 1 will have returned to the backcourt by this time and
the continuity may be continued with player 3 passing to team-
mate 1 and cutting for the basket.
UTILIZING THE BIG MAN
I regard the big man as the key player in the Two-Three offense.
His development or education in the skills that may be utilized in
the offense is vital to its success. Although the ability to score is
important, it should not take precedence over the ability to play
defense (block-out, switch, rebound) and to blend into the offense
by handling the ball, getting the rebound outlet-pass away, general
screening, setting up blocking plays, cutting, and following in.
Defensively, the big man must be able to carry his share of the
load. Championship teams and championship contenders usually
feature a big man who presents a defensive problem. The opponents'
big man must be met on even terms. Your own big man should be
prepared to play the opposing giant from behind, on the side, or in
1
BUILDING A STYLE OF PLAY 173
front, and should have the ability to keep up with him in the
corners or out on the court.
Naturally, such personal skills as shooting, faking, and feinting
should be developed to the fullest extent. The fakes must include
foot fakes and fakes with the hands and with the ball. The feints
must include use of the head, eyes, and the body. The drill catalog
concluding this book contains special drills that will assist in teach-
ing the big man these fundamentals. Special stunts such as pitting
the big fellow against a smaller man in one-on-one play will help
in his development.
Rope skipping, bag punching, shadow boxing, dancing, "tap-in"
drills, the day-after-day squeezing of a handball, and the use of a
medicine ball for finger, wrist, and arm development — all are im-
portant.
Special practice in "two-on-two" play is valuable in the develop-
ment of the big man since here he will learn the vital man-to-man
defensive moves (front-slide-stay-switch) as well as fast and ac-
curate passing and cutting.
The pivot player must learn through actual competition how to
secure and hold position on his opponent. Many big fellows lack
the timing sense necessary in obtaining position; they arrive too
early or too late. Some big men master the timing requirements but
lack the ability to handle the ball effectively when they receive it.
Among the most difficult qualities to teach the big man are poise
and confidence. He must realize that he is the pivot around which
the offense evolves. As soon as he is aware of this, he should be
forced to take charge. He should signify by hand or other signals
when he wants the ball and where he expects it to be thrown. His
moves must be made with sureness and confidence.
The ability to pivot away, pivot back, cut under the basket and
reverse back to the desired position is important in securing a good
scoring position; this ability is acquired only by long hours of prac-
tice. The know-how necessary to fake a shot and drive around an
opponent or to fake a dribble and take the shot, again, comes only
after hard and patient work, as does the ability to set up blocks,
posts, and turnaround positions.
174
BUILDING A STYLE OF PLAY
Two of the most important blocks are the dribble-block and the
"turnaround play." A description of two of the dribble-blocks fol-
lows.
A dribble-block occurs when a player with the ball dribbles to
a position behind a teammate's opponent and sets himself in a legal
blocking position (a space of at least three feet). The blocker may
be facing toward the basket or away from the basket (back-up
position).
Once the big man has established the block position, he holds
fast prepared to give the teammate the ball should he succeed in
maneuvering his opponent into the block. As soon as contact oc-
curs, the big man uses a hand-off to pass the ball to the cutter. (If
the big man is facing the basket, he may bounce the ball to his cut-
ting teammate.)
If a switch occurs, the big man should have the inside position
on his teammate's opponent (the player blocked) and a fast cut
should be made to the basket.
Chart 36
In Chart 36 offensive player 1 has dribbled to a position behind
teammate 2's opponent B. Facing the basket, player 1 holds his
position protecting the ball and anticipating that teammate 2 will
maneuver guard B into the block. Player 2 manages to do so and
then cuts for the basket. Player 1 gives the ball to teammate 2 and
BUILDING A STYLE OF PLAY
175
may cut either to the right or to the left to elude opponent B should
his personal guard A switch.
Chart 37
In Chart 37 post-pivot player 1 has dribbled to a position behind
the man guarding teammate 2. Facing away from the basket,
player 1 establishes a legal block (three feet from the opponent) and
waits for player 2 to maneuver opponent B into the block. Player 2
fakes right, and then drives left, forcing guard B into the block.
Blocking player 1 gives the ball to cutter 2. If defensive player A
switches to guard cutter 2, player 1 will cut either left or right to
avoid defensive player B, anticipating a return pass. If opponent A
does not switch to cover the cutter, he (player 2) should have an
unrestricted shot.
THE TURNAROUND PLAY
A turnaround play occurs when a player in possession of the ball
in the backcourt or near the sideline floats a high pass to a post-
pivot player. The pass is purposefully made high and short so the
big man will be forced to advance and leap high in the air to pro-
tect and catch the ball. As soon as the big man catches the ball, he
pivots to a position facing the basket, holding the ball as high above
the head as possible.
176
BUILDING A STYLE OF PLAY
As soon as the big man has pivoted to face the basket, the passer
maneuvers right or left and then cuts past the block in an attempt
to get away from his opponent.
In the meantime, the big man is standing motionless, anticipating
contact with his teammate's guard. Should contact result, the big
man's opponent must commit himself either to a switch to cover
the cutter or to continue his guarding of the big man. If the big
man's opponent switches, the big man may shoot or dribble into the
basket for a lay-up. If the big man's opponent does not switch, he
passes the ball to the cutter for an unrestricted shot.
Chart 38
Chart 38 shows the turnaround play. Player 1, with the ball,
passes to teammate 2. The pass is a high, short pass and player 2
should leap high in the air to catch the ball at arm's length. As soon
as he has secured the ball, player 2 pivots to face the basket. (He
may continue to hold the ball above the head or bring it down to
a dribbling position.)
Player 1 now maneuvers his opponent A into the block and cuts
for the basket. If defensive player B switches to cutter 1, the big
man 2 may dribble in for a lay-up or shoot from his position.
Should defensive player B fail to switch, player 2 can pass the
ball to teammate 1 for an easy shot.
BUILDING A STYLE OF PLAY
177
Chart 39
In Chart 39 player 1 passes the ball to teammate 2 and uses a
change-of-direction cut in an attempt to evade his guard. Note that
player 1 is following the give-and-go weave continuity and will end
up in the righthand corner and thence back up the right sideline.
Chart 40
In Chart 40 player 1 passes to teammate 2 and, after a fake in-
side screen, cuts behind 2. He hopes to maneuver his guard A into
a position where he will hesitate in following the cut for the basket.
178
BUILDING A STYLE OF PLAY
Chart 41
In Chart 41 player 1 passes the ball to teammate 2 and executes
an inside screen, continuing on to a set-shot position behind 2.
Player 2 gives player 1 an over-the-shoulder pass or back flip and
cuts for the basket.
Chart 42
In Chart 42 player 1 passes the ball to teammate 2 and fakes an
inside screen. He then falls behind player 2 and receives the ball.
Player 2 fakes to the right in an attempt to force his opponent B
into a block with opponent A and then drives hard for the basket
with his right hand elevated as a target for a return pass.
BUILDING A STYLE OF PLAY
179
Chart 43
In Chart 43 player 1 passes to teammate 2 and cuts behind in a
back screen. Player 2 now fakes a back pass. Player 1 cuts for the
basket, elevating his left hand as a target for a return pass. Note
the give-and-go weave continuity as player 1 fades for the right
corner after he reaches the basket.
Chart 44
In Chart 44 player 1 passes the ball to teammate 2 and fakes an
inside screen. He then cuts behind player 2 in a back screen.
Player 2 returns the ball to player 1 and cuts toward the basket and
the left corner, raising his right hand for a target for the return pass.
The cut toward the corner following the drive for the basket con-
forms to the continuity of the give-and-go weave.
f < <A j- tinny
Turnaround Play
(No Switch)
Offensive player 41 is break-
ing out for a high, short pass
from teammate 40 in the back-
court (not shown in the begin-
ning of the play). Post-pivot
player 41 gets the ball and
pivots into the outside half of
the free-throw circle. Still hold-
ing the ball above his head,
player 41 waits for the block.
His teammate, player 40, suc-
ceeds in running his opponent
into the block and cuts to the
right for the basket. Defensive
player 43 does not switch and
post-pivot player 41 passes to
teammate 40 for an easy score.
1 BE'
s
Turnaround Play
(With Switch)
Offensive player 40 throws
a high overhead pass to team-
mate 41 (post-pivot player).
The big man pivots into outer
half of the free-throw circle
and holds the ball high above
his head. Teammate 40 ma-
neuvers his opponent into the
block and cuts to the right
around the block. This time,
defensive player 43 switches to
cover the cutter, offensive
player 40. The big man 41 has
a clear shot for the basket and
is attempting a one-hand set
shot.
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Turnaround Play
(With Switch)
Offensive player 40 again
passes to the big man 41. The
post-pivot player pivots in the
outer half of the free-throw
circle and again player 40 ma-
neuvers his opponent into the
block. Defensive player 43
again switches and this time
the big man, pivot player 41,
dribbles in for a shot at the
basket.
m~t~~
186 BUILDING A STYLE OF PLAY
THE TWO-MAN PLAYS
Examples of the two-man plays are shown here on the black-
board. Two-man plays are unquestionably the backbone of all
team offenses. They may be executed in the backcourt between the
two "quarterbacks"; diagonally between a backcourt player and a
post-pivot player; from the side of the court between a backcourt
player and a post-pivot player; or from the corner between a corner
man and the post-pivot player. The plays here are being executed
in the backcourt, but they may be started from any position. Here
player 1 starts the plays, but they can as easily be initiated by
player 2.
Two-man plays incorporate a number of "give-and-go" plays,
usually in the backcourt. When these are used, the post-pivot player
usually blends into the weave or roll or keeps his opponent busy
from a corner or baseline position.
f
Sit
o
1
"•?■"• ~" -
' "■
at
; i
,--' a
the triangle give-and-go play
I
s*
¥> :
This was the first play in
basketball and is still effective.
From this basic play a number
of screening plays incorporat-
ing the give-and-go principle
are used in every game and by
every team.
In the photographs repro-
duced here player 40 initiates
the play by dribbling toward
teammate 32. Note that he is
concentrating on a drive for-
ward to force his opponent 1 1
to concentrate on shifting
quickly to the left. With a push
of the ball, player 40 now
changes direction and drives
from his right foot toward his
left catching his opponent 11
off balance. The maneuver
gains a half-step advantage for
player 40 and he cuts for the
basket, raising his left hand as
a target so that teammate 32
can give him a return pass and
complete the triangle. (The
first side of the triangle was
the push bounce pass from
player 40 to teammate 32; the
second side was the cut exe-
cuted by player 40 in driving
toward the basket; and the
third side is the return pass
from player 32 to the cutter,
player 40.)
J
Corner-Pivot Plays
Several variations of corner-pivot plays are shown on the black-
board here. The play of the big man, player 2, differs here from
that shown in the charted plays. On the blackboard he is shown
pivoting away from his teammate in the under-basket situation; in
the charted plays he is shown rolling or pivoting with his teammate.
The post-pivot player must be so skilled in lane pivot-play that he
will automatically use the pivot or roll to get free for a return pass.
192
BUILDING A STYLE OF PLAY
Chart 45
A simple set-up for a shot by player 2. Note his (2) set right
and long step back.
Chart 46
A simple set-up for a shot by player 1 .
BUILDING A STYLE OF PLAY
193
Chart 47
A dribble-screen by player 1 to free teammate 2 on a cut for the
basket. Note raised right hand and continuity cut for left corner.
Chart 48
A dribble-trailer play. Player 1 dribbles between teammate 2 and
his guard (B). Player 2 cuts behind the dribbler.
194
BUILDING A STYLE OF PLAY
Chart 49
Player 1 passes to teammate 2 and sets up a block behind guard
B. Player 2 dribbles for the basket.
Chart 50
Player 1 passes to teammate 2 and starts a back screen. Player
2 fakes a dribble to his left and teammate 1 reverses and cuts for
the basket. Player 2 gives him the ball and player 1 dribbles hard
for a score.
BUILDING A STYLE OF PLAY
195
Chart 51
Diagonal two-man play. Player 1 passes to teammate 2 and
cuts as shown. Teammate 2 may return the pass or dribble around
the possible block which opponent A may set against opponent B.
Chart 52
In this diagonal play, player 1 is attempting to trap his guard
(A) between teammate 2, his opponent (B) and the side line.
Again, player 2 may pass or dribble.
Corner to Post-Pivot play. There are a number of variations to
the corner-pivot play shown above. The dribble may be incor-
porated in these two-man plays. Above, player 1 has passed to
teammate 2 and cuts as shown. Should his opponent (A) be
blocked, he will receive a handoff from teammate 2.
196
BUILDING A STYLE OF PLAY
Chart 53
Corner to Post-Pivot play. Player 1 passes to teammate 2 and
drives for the basket. If player 1 succeeds in trapping his guard
(A), teammate 2 will return the pass.
THE THREE-MAN PLAYS
In the Two-Three offense, three-man plays usually center around
the big man (post-pivot player). Three-man plays range from the
post-pivot block to some form of "splitting the post." We have found
that the use of more than three players to develop a scoring play
results in a mechanical, lackluster movement of ball and players.
When plays and play opportunities lack freedom and dash and
spontaneous action they cease to be effective. The following three-
man plays blend easily into the give-and-go weave circulation.
Please note at this time that a change-up, turn, or pivot away from
the usual backcourt give-and-go principle of the weave reverses the
circulation path. In other words, in the give-and-go weave, a player
in the backcourt or coming up along the sideline is expected to move
toward the center of the backcourt, then dash for the basket, and
fade out toward the opposite corner. When a player on one side of
the court turns back toward the side or corner from which he has
BUILDING A STYLE OF PLAY
197
just come, it means that he will reverse his circulation cut and come
back up the same side he is now facing. This innovation will be ex-
plained in the chart descriptions.
All players not concerned in the actual screening, blocking, drib-
bling, or passing in a two- or three-man play are expected to keep
their opponents busy by trading positions on the side of the court
away from the play. In Charts 54-67, three-man plays have been
illustrated on one side of the court. Transferring the play to the
other side of the court merely means a reversal in the direction of
the play and a change in the duties of the players.
Chart 54
Chart 54 shows a three-man play incorporating the "split-the-
post" principle. Player 1 fakes a pass to teammate 2 and then turns
back to feed the big man, post-pivot player 3. This move on the part
of player 1 immediately changes the circulation path; he will re-
verse his usual cut (normally he would replace player 5 in the right
corner) and, after setting a screen for teammate 4, will continue to
the left corner to occupy teammate 4's corner position.
198
BUILDING A STYLE OF PLAY
Player 2 recognizes the circulation change and, instead of cut-
ting toward the basket and fading off to the left corner, reverses
and cuts toward the right corner to replace teammate 5. Players 2
and 5 must keep their opponents busy.
Chart 55
Chart 55 shows a three-man corner clearout play in which
player 1 reverses the circulation path by turning away from team-
mate 2 and dribbling toward the left side of the court. Post-pivot
player 3 may be stationed on either side of the court. Here, he fakes
right and cuts to a pivot position beside the lane.
Player 1 now passes the ball to the corner player 4 and executes
an outside screen, circling behind him. Player 4 passes the ball to
teammate 1 and cuts for the basket. Player 1 now has room and
time for an attempt at a score, or he may pass to post-pivot player 3.
Players 2 and 5, away from the play, must keep their opponents
busy to avoid floating and sagging.
BUILDING A STYLE OF PLAY
Chart 56
199
The three-man play in Chart 56 is designed chiefly to accentuate
the circulation paths of players 1 and 2. Player 2 has the ball and
passes to player 1, who meets the pass. Player 2 then uses the give-
and-go weave path from that side of the court. Player 1 dribbles
and then uses his circulation path from his side of the court.
Chart 57
200
BUILDING A STYLE OF PLAY
Another example of the give-and-go weave circulation path ap-
pears in Chart 57. Player 1 passes to player 2 and cuts for the
basket hoping for a return pass. When the ball is not received, he
cuts for the right corner. Player 2 dribbles and then passes off to
corner player 4. Player 2 then continues his circulation path to the
left corner and up the side.
Chart 58
Note the circulation path in the three-man play in Chart 58.
Player 1 passes the ball to teammate 4, who has faked a baseline
cut to the basket. Player 4 waits for player l's screen and then
passes to post-pivot player 3 and cuts for the return pass.
In Chart 59 player 1 again passes to teammate 4. This time
player 1 uses a slow screen behind teammate 4's opponent and then
continues his reverse circulation path. Player 4 cuts around the
screen after passing to teammate 3. This time he cuts to the outside
of the post block for the return pass. Note that player 3 is rolling
with the pass.
BUILDING A STYLE OF PLAY
201
Chart 59
Chart 60
202
BUILDING A STYLE OF PLAY
In Chart 60 player 1 passes to comer player 4 and cuts behind
4's opponent. There he sets up a three-foot block. After teammate 4
cuts around the block, player 1 follows the reverse circulation path.
Player 4 passes the ball to post-pivot player 3 and cuts around the
double-block set up by teammates 1 and 3. Player 4 may hand-off
to corner player 4 or fake a pass and drive in. In the chart, he is
pivoting away from the pass.
Chart 61
In Chart 61 player 2 throws a high, short pass to post-pivot
player 3, which indicates a turnaround play. Player 3 breaks for
the ball and pivots so that he is facing the basket. Player 2 cuts as
shown and, if no play develops, cuts on the reverse circulation path
shown. As player 2 reaches the corner, he sets a block against team-
mate 5's opponent. Corner player 5 fakes right and cuts as shown
around teammate 2's block. After the play has cleared 2 comes up
the sideline.
BUILDING A STYLE OF PLAY
203
Chart 62
Chart 62 shows a block play set up by post-pivot player 3.
Player 5 with the ball fakes a pass to teammate 3. Teammate 3 cuts
to the other side of the lane and pivots so that he is facing player 5.
Corner player 4 drives around the block set up by teammate 3 for
the pass from teammate 5. If no play is possible for player 4, the
post-pivot player 3 cuts to the line for a pass.
Chart 63
204
BUILDING A STYLE OF PLAY
The play shown in Chart 63 occurs in every game. Player 5
drives along the baseline and succeeds in dribbling away from his
opponent. The big man guarding teammate 3 may switch, and the
opponent guarding corner man 4 may float toward the basket to
help out. Player 4 waits until his guard floats away and then cuts
out for a bounce pass from teammate 5.
Chart 64
In Chart 64 player 1 passes to teammate 2 and cuts toward the
basket with his left hand extended above his head as a target for a
return pass. Player 2 fakes a return pass to player 1 and dribbles
toward the center of the court. He then passes to teammate 3 and
cuts toward the basket. Player 3 returns the ball to teammate 2 and
fills the center spot in the center of the backcourt. Players 4 and 5
have started up the sidelines. Should player 2 attempt a shot, they
will follow in, while teammates 1 and 3 cover the backcourt and set
up the defensive balance.
BUILDING A STYLE OF PLAY
205
Chart 65
Chart 66
206
BUILDING A STYLE OF PLAY
Player 1 in Chart 65 passes to teammate 2 and cuts for the
basket. Player 2 dribbles to the left and sets an outside screen be-
hind teammate 3's opponent. Player 3 fakes left, cuts past team-
mate 2, gets the ball, and dribbles in for a shot. Note that players 4
and 5 have come partway up the sidelines and are prepared to
follow in should player 3 attempt the shot. Players 1 and 2 are re-
sponsible for defensive balance in the backcourt.
Player 1 in Chart 66 dribbles behind teammate 2's opponent and
sets up a dribble-block. Player 2 cuts around the block as shown,
drives for the basket, and should receive a bounce pass from
player 1. Player 3 uses a fake and a change-of-pace to cut around
the block on the other side (splitting the post). Teammates 4 and 5
start part way up the sidelines and are prepared to follow in should
a shot be attempted. Players 1 and 2 are responsible for defensive
balance should a shot be attempted.
Chart 67
Player 1 in Chart 67 passes the ball to teammate 2 and uses an
inside screen to cut behind 2. Player 2 passes to teammate 4 and
BUILDING A STYLE OF PLAY 207
cuts for the basket. He may continue on if free, but here he stops
in the outer half of the free-throw circle and sets a block for team-
mate 3. Player 3 cuts for the basket as shown. This is a slicing play.
Note that player 2 reverses to cut toward the ball and to set up a
reverse path because of the reverse continuity established by player
2's pass to player 4.
GAME SIGNALS
The use of signals is not restricted to indicating the direction of
the tap and the receiver in jump-ball situations. Certain signals or
signs may be used in calling a time-out, determining a change of
offense or defense, exchanging opponents in the man-to-man de-
fense, and transferring follow-in assignments.
Many coaches are satisfied with securing possession of the ball
in held-ball situations; others design certain plays from the center
jump and the held-ball situations. Time-outs are precious in deter-
mining strategic moves in the closing minutes of a game, and some
sort of an arrangement should be agreed upon so that the coach
can control the calls. Although the rules permit any player to call
for a time-out, it should not be called without the approval of the
coach unless a player is injured.
Today, game strategy calls for team cohesion in changing from
one offense to another. Some sort of a signal or sign should be de-
vised for use between the coach and the captain and between the
captain and teammates in deciding when one offense may be substi-
tuted for another; when a man-to-man defense may be changed to a
zone; when a full- or half -court press may be applied; when players'
defensive assignments are to be switched from one opponent to an-
other because of advantages or disadvantages in size, speed, drive,
or other superiority; and in transferring offensive follow-in assign-
ments when it is obvious that a certain opponent is poorly trained
in blocking out.
Signals may range from the old, familiar cloth-and-skin type to
use of the eyes, called-out numbers, body facing, positions of the
208 BUILDING A STYLE OF PLAY
feet or the hands. These signals may be further complicated by be-
ing used while standing or moving, talking or silent, and by the re-
sponsibility of giving the signals changing from one player to an-
other during the game.
The cloth-and-skin signals are indicated by the hands, touching
the face, arms, legs, shirt, or trunks. For example, in the center
jump or in a held-ball situation, the player giving the signals may
touch his right temple to designate a tap to the left forward posi-
tion. The left hand can be used similarly to designate the right for-
ward position. Touching the chin with either hand may designate
the respective guard positions, and touching the legs — right or left
and with right or left hand — may serve to designate taps directly
to the side, to the front (long or short), and directly back (long or
short).
The use of called numbers may serve to set up a certain offense
or a play. One of the outstanding professional teams in the country
signifies certain offensive plays through called numbers. Another
gives signals by the player's raising a hand in the air, determining
the play or formation by the number of fingers.
A change of defense or the application of some phase of the
press may be signalled by the captain. Some teams give the signals
after the scoring of a free throw or a goal from the field. And some
coaches make the changes during a time-out. However, the change
should be made if possible during play on the court to incorporate
the element of surprise.
THE BASIC OFFENSE
attacking the man-to-man defense
In building an offense the team must master the various distinct
fundamentals, and the coach and the players must be in agreement
concerning their usage in game situations. The fundamental drills
should continue day after day from the first day of practice until
the last practice before the final game.
BUILDING A STYLE OF PLAY 209
No coach will succeed with an offensive pattern or style unless
his players have both a complete knowledge of the fundamentals
and the ability to put them into practice under game conditions.
It follows, then, that players will not be able to successfully employ
a style of play unless they have been exposed to fundamental drills
time after time until the use of the correct fundamentals in the
various situations has become a habit.
At the end of this book the various fundamental drills used in
developing individual offensive skills are outlined. Team offensive
drills as well as warm-up and special tactical drills are included.
The coach should give them proper emphasis in the over-all allot-
ment of time.
The five-man give-and-go weave and the four-man weave and
roll with the use of a post-pivot player have been discussed and
diagrammed. These offensive setups will be diagrammed again to
illustrate their use as team offenses against the man-to-man defense.
A five-man roll and certain applications of the Three-Two offense
will be diagrammed to show their use against man-to-man defenses.
Attacks against the man-to-man variations will be found under
"attack situations" in Chapter 4.
The basic One-Three-One attack and an alternate for use against
the zone defenses will be diagrammed and explained. Naturally, all
coaches have their own theories and adaptations for use against a
particular type of zone and its variations.
It is important to reiterate that the use of a pattern, weave, or
roll is vital in any basic offense in order to insure offensive and de-
fensive balance. Otherwise, the development of game plays has
little value except to teach situation reactions.
The use of inside and outside screens (designated by a short line
beside the circulation path >- ) , back screens, drib-
ble and turnaround blocks, two-man plays, and the three-man plays
will be diagrammed in the five-man give-and-go weave, the basic
Two-Three, the five-man roll, the four-man roll with a post-pivot,
and the Three-Two offenses.
The charts do not show scoring attempts by the players since all
210 BUILDING A STYLE OF PLAY
offensive players are operating with complete option freedom in all
plays. The players are, however, expected to follow the regular or
reverse circulation paths. Frequently a player will cut in an entirely
different direction from the required circulation and then change his
path to end up correctly in the proper continuity.
The post-pivot player is used as a scoring threat in all formations,
although none of the diagrams show him attempting a shot. In his
capacity as a blocker or post or pivot player he has many oppor-
tunities to handle the ball and may elect to fake a hand-off and
attempt a shot whenever he feels it is the correct option.
the five-man give-and-go weave
The five-man weave keeps the under-basket area open and pro-
vides the basic circulation for all offenses used at North Carolina
University. As a straight game offense it permits excellent use of
change-of -direction tactics; inside, outside, and back screens; drib-
ble blocks; and slicing plays.
By the use of the dribble the weave can be slowed down to permit
time for all kinds of screens and blocks. Since all offensive players
are constantly on the move, man-to-man opponents do not dare to
sag or float. Further, the weave provides offensive and defensive
court balance because of the ease with which the weave "spots"
(three in the backcourt and one in each corner) are filled.
The charts here are diagrammed to the right only; naturally, all
circulations and all plays may be used to the left. The diagrams are
designed chiefly to illustrate the circulation and a few natural plays.
The players themselves will develop many extemporaneous plays
once they become aware of the possibilities.
In Chart 68 player 1 passes the ball to teammate 2 and uses a
back screen to receive a return pass. Player 1 may now pass the ball
BUILDING A STYLE OF PLAY
211
Chart 68
to 2 (cutting with right hand raised as a target), or pass to 3 (left
hand raised) who has used a slicing cut closely behind the block
(three feet) set by left comer player 5. The backcourt defensive
balance is set up by players 4 and 5.
Chart 69
212
BUILDING A STYLE OF PLAY
In Chart 69 player 1 passes the ball to teammate 2 and sets up a
block (three feet) behind 2's opponent. Player 2 passes the ball to
the corner player 4. This establishes reverse circulation, since the
regular circulation calls for a path toward the left and a pass to
teammate 3. After passing to player 4, player 2 sets a slow-moving
screen for teammate 3. Player 3 fakes left and cuts down the lane.
Note again that the reverse circulation is established because player
2 changes the continuity by passing to 4 instead of 3. Players 1
and 5 are responsible for the defensive balance.
BASIC TWO-THREE OFFENSE
Chart 70
Chart 70 illustrates the usual give-and-go with player 3 setting
up a turnaround play for player 2. Player 1 passes to player 2 and
cuts for the basket. At the same time, the post-pivot player 3 cuts
out for the ball. Player 2 gives teammate 3 a high, lob pass and cuts
around the turnaround block. Player 3 (facing the basket with the
ball held high over his head) will pass, shoot, or dribble in for the
lay-up, depending upon the action of his opponent. Players 4 and 5
set up the defensive balance in the backcourt.
BUILDING A STYLE OF PLAY
213
Chart 71
In Chart 71 player 1 passes the ball to teammate 2 and uses an
inside screen to cut behind 2. Player 2 returns the ball to 1 and
tries to maneuver his opponent into l's guard and drive for the
basket. Note that post-pivot player 3 is keeping his opponent busy
by whirling toward the baseline. The corner men (4 and 5) come up
the sidelines and will set up the defensive balance in the backcourt.
Chart 72
214
BUILDING A STYLE OF PLAY
In Chart 72 player 1 passes to teammate 2 and uses an outside
screen to get behind 2. Player 2 immediately passes the ball to team-
mate 5 and cuts for the basket. Player 3 again whirls to take his
opponent out of the play and to get into position for a pass from the
cutter should his opponent switch to cover player 2. Player 5 passes
the ball to 2 and continues up the sideline. In this situation player 5
will follow in should a shot be taken, and players 1 and 4 will be re-
sponsible for defensive balance.
Chart 73
In Chart 73 player 1 passes to teammate 2 and uses a back screen
to receive the return pass. Immediately after passing, player 2 fakes
left and cuts around the block set by post-pivot player 3. Player 5
will follow in if player 1 returns the pass to the cutter 2. In this
case players 1 and 4 will be responsible for the defensive balance
in the backcourt.
BUILDING A STYLE OF PLAY
215
Chart 74
In Chart 74 player 1 sets up a dribble-block behind teammate 2's
opponent. (Note that player 1 is facing the basket.) Player 2 cuts
around the block and will receive a bounce pass if he succeeds in
getting free. If player l's opponent switches, 1 may shoot or pass
to post-pivot player 3. In this chart player 1 passes to teammate 2.
Players 4 and 5 are responsible for defensive balance.
Chart 75
216
BUILDING A STYLE OF PLAY
In Chart 75 player 1 passes to teammate 2 and cuts for the
basket. Player 2 passes to post-pivot player 3 who dribbles up be-
hind teammate 2's opponent. Player 2 holds his position until
player 3 has dribbled to the block position and then uses a change-
of-direction and a hard cut for the basket to get free for a return
pass. Players 4 and 5 set up the backcourt defensive balance.
Chart 76
In Chart 76 player 1 fakes to teammate 2, then reverses and
dribbles to his left. (This sets up reverse circulation.) Player 1 then
passes to teammate 4, fakes right and cuts behind 4 for a return
pass. Post-pivot player 3 fakes and then cuts as shown to the op-
posite side of the lane. Player 4 gives player 1 an over-the-shoulder
pass to set him up for a set-shot clearout and then breaks for the
basket. Player 1 may now shoot or may pass either to the big man
or to the corner man (player 5) who has cut across court toward
the ball. Player 2, on the opposite side of the court, uses the reverse
circulation path and returns to the backcourt where he is joined by
teammate 1 for defensive balance.
BUILDING A STYLE OF PLAY
217
Chart 77
In Chart 77 player 1 fakes a pass to teammate 2 and then feeds
the ball to the big man who has cut to a post position beside the
free-throw line. Player 1 then fakes to the right and sets a slow, out-
side screen for player 4. Player 1 reverses and returns to the back-
court for defensive balance. The corner man 4 utilizes the screen by
Chart 78
218
BUILDING A STYLE OF PLAY
teammate 1 and cuts past teammate 3 for a hand-off. Player 2 ex-
changes positions with player 5 and, if a play occurs, may cut back
toward the basket or rejoin teammates 1 and 5 in the backcourt.
In Chart 78 player 1 passes to teammate 2 and cuts for the
basket. Player 2 fakes a return pass to player 1 and then dribbles
left across court behind the moving, outside screen set by player 1 .
Player 3 also sets a block on the side of the lane. If player 2 is un-
able to continue on to the basket for a score, he executes a reverse
pivot and attempts to feed the ball to the corner man 4 who cuts
across for the hand-off. Players 1 and 2 will return to the back-
court for defensive balance.
Chart 79
In Chart 79 player 1 fakes to teammate 2 and then reverses the
circulation by lobbing a high, short pass to post-pivot player 3.
Player 3 sets up the turnaround play for teammate 1 who cuts
around for a possible return pass. If there is a switch, the big man 3
can shoot or dribble in for a lay-up. If he is checked and player 1 is
covered, he may pass to corner man 4 who has cut around a block
set by player 1. The backcourt balance is set up by players 1 and 5.
BUILDING A STYLE OF PLAY
219
Chart 80
In Chart 80 player 1 fakes to teammate 2 and then passes to the
comer man 4. This sets up the reverse circulation path and 1 re-
turns to the backcourt. Player 4 meets the pass and feeds the op-
Chart 81
220
BUILDING A STYLE OF PLAY
posite corner man 5 who has cut around the block set by the post-
pivot player 3. Player 4 follows his pass. As soon as teammate 5
clears his block, the post-pivot player 3 drops back to the outer
half of the free-throw circle. Player 5 may attempt a shot if he is
loose, return the ball to teammate 4, or pass to the post-pivot
player 3 on the free-throw line. (Player 3 is usually free for a shot
on this play.)
In Chart 81 player 1 dribbles to an outside-screen position be-
hind teammate 2's opponent. He then hands-off to player 2 and
continues toward the basket. Veering off to the right, he sets a block
for corner player 5. Player 2 dribbles a short distance and then
passes to the corner man 4. Player 2 cuts around teammate 4 ex-
pecting a return pass. If it does not materialize, he cuts for the left
corner and back up the sideline for defensive balance. If player 4
cannot return the ball to player 2, he feeds teammate 3 the ball and
cuts for the basket. The opposite corner man 5 cuts across the lane
to "split the post." If he fails to get a hand-off, he continues to the
corner to replace teammate 4. Players 1 and 2 are responsible for
defensive balance.
Chart 82
BUILDING A STYLE OF PLAY
221
In Chart 82 player 1 passes to teammate 2 and sets a block be-
hind 2's opponent. Player 2 fakes right and dribbles hard behind
the block. If he succeeds in maneuvering his opponent into the
block, he continues his dribble toward the basket. If he cannot get
free, he passes to the corner man 4, executes a hard stop, and cuts
behind the block set by the post-pivot player 3. Player 4 returns
the pass and player 2 should be free for a scoring attempt. Play-
ers 4 and 5 are responsible for defensive balance.
Chart 83
In Chart 83 player 1 passes to teammate 2 and cuts for the
basket. If player 2 cannot return the pass, he dribbles as shown and
uses a reverse turn to set up a block for the corner man 4. The post-
pivot player 3 moves across the lane to set up a double block with
teammate 2. Player 4 fakes to the left, cuts across in front of the
double block, and receives a hand-off from player 2. The backcourt
balance is the responsibility of players 2 and 5.
222
BUILDING A STYLE OF PLAY
Chart 84
In Chart 84 player 1 passes to teammate 2 and cuts for the
basket. When player 2 pivots away and passes to the corner man 5,
player 1 reverses his circulation path and fills the left corner spot.
Player 2 fakes a return pass to cutter 1 and passes to the right
corner man 5. He then cuts in front of the block set by the post-
pivot player 3. If he does not get the ball, player 2 continues on
around the corner and back up the sideline to the backcourt.
Player 5 dribbles behind teammate 2's screen and in front of the
block set by player 3. Player 1 buttonhooks around in case his op-
ponent floats; he is prepared for the pass and a shot if player 5 does
not have a play. Players 2 and 4 are responsible for defensive bal-
ance.
In Chart 85 player 1 fakes a pass to teammate 2, dribbles hard
to the side of the free-throw line, and sets up a pivot-block beside
post-pivot player 3. Player 2 replaces teammate 4 and is prepared
to cut back to the basket. The big man whirls around teammate 1
(reverse offensive play) and takes the pass for a jump shot. Players
4 and 5 are responsible for the backcourt defensive balance.
BUILDING A STYLE OF PLAY
223
Chart 85
In Chart 86 player 1 passes to teammate 2 and executes an in-
side screen as he rolls toward the right corner. Player 2 dribbles
left a short distance, passes the ball to teammate 3, and executes
Chart 86
224
BUILDING A STYLE OF PLAY
an inside screen as he rolls to the left corner. Player 4 comes up the
sideline a short distance and then moves toward the center of the
court prepared to receive a pass from player 3. Player 5 also ad-
vances up the left sideline and rolls toward the center of the court
expecting a pass from teammate 4. All players use the inside screen
in this roll (cutting between a teammate and his opponent).
Chart 87
Chart 87 shows the use of outside screens in the roll. This is a
difficult maneuver; to avoid contact, all players must be able to em-
ploy a pivot-spin. The pivot spin when moving to the right is exe-
cuted by pivoting away from a teammate's opponent on the left foot.
When moving to the left, the pivot spin is made by pivoting away
from the approaching opponent on the right foot.
In Chart 87 player 1 passes the ball to teammate 2 and attempts
to execute an outside screen. Because the opponent guarding team-
mate 2 is approaching, player 1 avoids contact by using a pivot
spin from his extended left foot. Player 2 dribbles a short distance
and then passes to teammate 3. Since the opponent guarding team-
mate 3 is approaching, player 2 must also pivot-spin away and
back on his right foot to avoid contact. (The term contact means to
charge an opponent which, naturally, is a foul.)
BUILDING A STYLE OF PLAY
225
Chart 88
In Chart 88 player 1 passes to teammate 2, executes an inside
screen, and continues on to the right corner. Player 2 dribbles to
the left, passes the ball, and executes another inside screen. Player 3
dribbles around the screen toward the basket. Players 4 and 5 are
responsible for continuing the roll to the center of the court.
Chart 89
226
BUILDING A STYLE OF PLAY
In Chart 89 player 1 passes to teammate 2, executes an inside
screen, and continues to the right corner to replace teammate 4.
Player 2 reverses and, instead of passing the ball to teammate 3,
passes to player 4. He then cuts left and establishes a block beside
the lane. This sets reverse circulation in motion; player 3 immedi-
ately reverses his circulation path and sets up a block in the outer
half of the free-throw circle. Player 5 has rolled up the left sideline
and now drives hard to the right of the two blocks and down the
right side of the free-throw lane. Player 4 passes the ball to him and
follows in. Players 2 and 3 reverse to the backcourt and are re-
sponsible for defensive balance.
Chart 90
In Chart 90 player 1 passes to teammate 2 and executes an inside
screen as he rolls toward the left corner. Player 2 dribbles to the
right, passes to teammate 3, and employs an inside screen on his
way to the right corner. Player 3 dribbles toward the center of the
court, passes to teammate 4, executes an inside screen, and moves
toward the left corner. Player 4 dribbles to the right prepared to
pass the ball to teammate 2, who is now rolling out from the right
corner.
j
BUILDING A STYLE OF PLAY
227
Chart 91
In Chart 91 player 1 passes to teammate 2. Just before the pass
is made, post player 5 drives to a post position in the outer half of
the free-throw circle to a spot behind player 1 who held the ball.
Now, as the ball is passed to player 2, post-player 5 moves to a
Chart 92
228 BUILDING A STYLE OF PLAY
position between player 2 and the basket. Player 2 dribbles to the
left, passes to teammate 3, executes an inside screen, and continues
on to the left corner. Post-player 5 moves with the ball as shown.
Player 3 dribbles right and passes to teammate 4. During this drib-
bling and passing each player is watching .for his or a teammate's
opponent to make a mistake so a drive for the basket can be at-
tempted.
In Chart 92 player 1 passes to teammate 2. Instead of using the
regular continuity and passing to teammate 3, player 2 reverses
and feeds the corner man 4. Player 4 drove for the basket, threw
a hard stop, and angled out to get the pass. Player 2 followed his
pass, set up an outside screen behind teammate 4's opponent, and
then circled in back of player 4.
When player 5 saw the pass to the opposite corner man 4, he
broke across the lane and established a pivot position. Player 4 re-
turned the ball to player 2 for a clearout maneuver and broke
toward the basket, cutting around player 5 and moving to a position
in the outer half of the free-throw circle. Player 2 may shoot or
pass. Player 3 sets up the defensive balance and will get defensive
help from teammate 1.
In Chart 93 player 1 passes to teammate 2 and cuts for the
basket. Player 2 dribbles in the regular continuity path to the left
and uses a slow dribble-screen for teammate 3. After screening
teammate 3's opponent, player 2 dribbles on and sets up a pivot on
the left side of the lane. Player 5 cuts across for a possible hand-off.
If no play results, he continues to the right corner and sets up a
block for teammate 4. Player 3 cuts for the basket either behind
the screen set by player 2 or (see asterisk) in front of the pivot
(player 2). Player 1 is in charge of the defensive balance and should
get help from teammate 4 or teammate 5.
In Chart 94 player 1 passes to teammate 2 and cuts for the
basket. When player 2 reverses and passes to the corner man 4,
player 1 reverses his usual circulation path and drives for the left
corner. Player 2 follows his pass to player 4 and circles back for a
BUILDING A STYLE OF PLAY
229
Chart 93
possible clearout play. If the pass does not materialize, he returns
to the backcourt where player 1 joins him for defensive balance.
Player 3 changes direction and breaks for the basket. When he sees
the possibilities of the pivot play he drops back to the outer half of
the free-throw circle. Player 4 (with the ball) passes to teammate
5 and breaks for the basket.
Chart 94
230
BUILDING A STYLE OF PLAY
Chart 95
In Chart 95 player 1 passes the ball to teammate 2 and cuts for
the basket. Player 2 reverses the circulation, passes to the right
corner man 4, and circles behind him. When player 4 elects to
dribble across to the opposite side of the free-throw lane, player 2
returns up the right sideline to the backcourt. Player 1 reverses his
circulation path, cuts to the left corner, and starts slowly up the
left sideline. When player 1 sees teammate 5 maneuvering his op-
ponent for a cut around the pivot established by player 4, he (1)
uses a change-up and cuts in front of the pivot. Player 5 cuts behind
the screen and toward the basket and may get a hand-off from
player 4. Player 3 has kept his opponent busy by threatening to cut.
As soon as player 5 drives for the basket, he too cuts to split the
post with the chance he may get a hand-off. Players 1 and 2 will
provide backcourt defensive balance.
In Chart 96 player 1 passes the ball to teammate 2 and cuts for
the basket. When player 2 reverses the circulation by passing to
the right corner man 4, player 1 also reverses and veers to the left
corner. Player 2 follows his pass and uses a back screen to receive
a return pass from player 4. The left corner man 5 breaks toward
the ball and receives it from player 2. Players 4 and 2 have split
BUILDING A STYLE OF PLAY
231
Chart 96
the post as shown. Player 2 circles back to the comer if he has no
play, and the right corner man 4 drops back to the outer half of the
free-throw circle for a possible pass. Player 3 keeps his man busy
by maneuvering as shown and then drops back for defensive bal-
ance with teammate 1 .
Chart 97
232
BUILDING A STYLE OF PLAY
In Chart 97 player 1 dribbles behind teammate 2. Player 2 at-
tempts to maneuver his opponent into a pick-off on player 2's
opponent. If he is successful, he continues on to the basket for a
possible return pass. When player 1 passes the ball to player 4,
player 2 executes a shallow cut and returns to the backcourt for de-
fensive balance. Player 1 follows his pass, provides an outside
screen for teammate 4, cuts to the corner and then back up the
right side of the court for defensive balance. On the opposite side
of the court, left corner man 5 has cut to the outer half of the free-
throw circle to set up a block for player 3. Player 3 times his move
and drives for the basket. Player 4 may continue his dribble for a
shot or pass to teammates 3 or 5. In the diagram he passes to the
cutter 3. Player 5 reverses and moves toward the basket after team-
mate 3 has cleared the post block.
Chart 98
In Chart 98 player 1 passes to teammate 2 and uses an inside
screen before cutting behind 2. Player 2 returns the pass to team-
mate 1 and cuts for the basket. Player 1 passes the ball to the right
corner man 4 and follows the pass. Left corner man 5 uses teammate
2's screen to break across to the right side of the lane and set up a
BUILDING A STYLE OF PLAY
233
post position. Player 4 passes the ball to 5 and cuts as shown.
Player 3 has faked left to keep his opponent busy and gain time. He
now cuts down the right side of the lane behind player 4's screen,
hoping for a hand-off. Players 1 and 2 set up the defensive balance
in the backcourt.
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Chart 99
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Chart 100
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234 BUILDING A STYLE OF PLAY
In Chart 99 player 1 is the key player and must keep moving so
that he may serve as a safety point to which the ball may be re-
turned in an emergency. Player 2 is the expert ball handler. He
moves constantly, forcing his opponent C to stay with him. He
must not only be a good ball handler but must have a good one-
hand set and jump shot. The sideline players, 4 and 5, are expected
to exchange positions and to team up with player 1 in establishing
defensive balance and in protecting the ball. They also assist team-
mate 3 in outnumbering the defensive rebounders D and E.
The effectiveness of the attack against the Two-One-Two zone
rests largely in the hands of player 2. Rapid movement of the ball
between players 1, 2, 4, and 5 puts constant pressure on defensive
chasers A and B who cannot possibly cover the entire width of the
court.
The baseline player 3 moves from side to side, holding the de-
fensive rebounders D and E in place. Player 3 follows in all shots,
breaks out to keep the ball moving in the under-basket attack, and
fills the corners. The strength of the Two-One-Two zone lies in the
under-basket defensive triangle. The weakness is on the sides and
in the corners.
In Chart 100 the One-Three-One offense is used against the Two-
Three zone defense. The Two-Three zone attempts to protect areas
close to the basket. This leaves the middle open from sideline to
sideline so that players 2, 4, and 5 should have many good scoring
opportunities.
Players 1, 2, 4, and 5 keep the ball hopping and move to set up
offensive triangles against all three players of the back line of the
zone defense. Players 4 and 5 must be good side shots and careful
passers. They do most of the cutting and share the ball-handling
responsibility with teammate 2.
Player 3, on the baseline, sets up three-on-two situations against
opponents D and E by working to and around the corners. He
should possess a good corner shot.
In Chart 101 the Two-Two-One offense is used to meet the One-
Two-Two zone defense. This zone defense is a bunched defense
BUILDING A STYLE OF PLAY
235
Chart 101
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and is vulnerable to medium-length shots. Since it closely resembles
a Three-Two defense, it has the same fast-break strength. Players
1 and 2 should be able to handle this situation since they out-
number defensive opponent A. With the assistance of teammates
4 and 5 they always have a four-on-three advantage.
The presence of player 3 working along the baseline is a con-
Chart 102
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236 BUILDING A STYLE OF PLAY
stant threat to defensive players D and E and forces them to re-
main in position. This provides an opportunity for sideline players
4 and 5 to work with 3 in outnumbering one of the rebounders.
When opponents B and C drop back to help out one of the back-
court players, 1 or 2 can drive through for a shot or to assist in the
outnumbering.
Chart 102 shows the Two-Two-One offense used to attack the
Three-Two zone defense. The Three-Two zone is vulnerable in the
vicinity of the basket and in the corners. Its strength lies in the
ability of defensive rebounders D and E to control the backboard
and in the fast-break efficiency of the chasers A, B, and C.
Attacking players 1, 2, 4, and 5 outnumber opponents A, B, and
C and should be able to move the ball until they secure the opening
they desire.
The presence of player 3 working along the baseline holds re-
bounders D and E more or less in position and leaves plenty of
scoring area near the basket. Once the ball passes the front de-
fensive line of A, B, and C, attacking players 4, 5, and 3 have a
three-two advantage and should employ it to secure sure shots.
Players 4 and 5 are expected to assist teammates 1 and 2 in set-
ting up defensive balance. Should 1 or 2 cut through into the front
court, player 4 or player 5 must drop back to help maintain de-
fensive balance.
Chart 103 shows the One-Three-One offense used to attack the
One-Three-One zone defense. This defense is weak in the corners
and along the sidelines. Although it appears to be wide open under
the basket, this is not necessarily true. The defense was originated by
Clair Bee (former coach at Long Island University) with the ex-
press purpose of stopping the big man and has been effective in
doing so. The alignment of players lends itself to excellent use of
the fast break.
The One-Three-One attacking formation as shown appears to
match the zone players on a man-to-man basis. However, this situ-
ation changes as soon as the ball is passed and the defensive players
begin to use their moves and slides.
BUILDING A STYLE OF PLAY
237
Chart 103
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Player 1 is the quarterback of the attack and, with the assistance
of teammates 2, 4, and 5, must get the ball into the comer and
under-basket area. Then the comers are attacked by players 2, 4,
and 3 on the left side and by players 2, 5, and 3 on the right side.
Players 1, 4, and 5 are responsible for the defensive balance.
THE FIVE-MAN ROLL
The five-man roll usually employs the inside screen in rolling
from corner to comer. The players move from the center of the
court to one corner, then back to the center, and thence to the
other comer in a continuous roll. The use of the inside screen pro-
tects the ball; about all the passer has to worry about is that he does
not charge a teammate's guard when he executes the inside screen.
The five-man roll is used by many teams to freeze the ball. The
continuous roll from comer to comer annoys many opposing teams
who get impatient when the ball is held up. This attack is designed
to take immediate advantage of interception attempts. Outside
screens may be employed, but there is considerable risk of charging
infractions. The use of the dribble is important in slowing down the
roll.
238
BUILDING A STYLE OF PLAY
THE FOUR-MAN ROLL WITH A POST-PIVOT
This is a slow, possession type of offense. The use of the dribble
is imperative since it is difficult for the four players taking part in
the roll to cover the corner-to-corner distance. The post-pivot
player is used chiefly as a block around which one of the "rollers"
may dribble or cut for a pass. When one of the players is hard
pressed and a teammate is covered, the post-pivot player is ex-
pected to break to the ball for safety. However, some teams employ
the post-pivot player as a scoring medium from a high post position
or on the side of the lane. He usually moves with the ball, trying
to keep between the ball and the basket.
The rollers (players) must dribble with their outside hands,
keeping their bodies between the opponents and the ball (right-
hand dribble when moving to the right, left-hand dribble when
moving to the left) . The coach should make sure that the shoulder
opposite the dribbling hand is lowered so that the dribbler may
drive hard for the basket at any time and yet give the ball maximum
protection.
ATTACKING THE TWO-ONE-TWO ZONE
Chart 104
BUILDING A STYLE OF PLAY
239
In Chart 104 player 1 passes to teammate 4 and replaces player
5 on the right sideline. Player 3 cuts to the left corner and receives
the pass from player 4. Player 4 replaces teammate 1. Player 2
moves toward the corner, and player 5 moves at the same time.
Player 3 with the ball should be able to shoot or to pass to player 2
or to player 5 who can advance along the baseline. If player 3
passes to teammate 2, he will cut toward the lane as shown. This is
an anticlockwise circulation and is effective because it attacks from
behind the zone.
Chart 105
In Chart 105 player 1 passes to teammate 5 and follows his pass
to replace player 5. Player 5 passes to teammate 2 and cuts for the
right corner. Player 3 cuts away from the ball to the other side of
the court. Player 4 replaces teammate 1 in the backcourt. Player 2
should be able to shoot or pass to teammate 3, 5, or 1.
Instead of the usual One-Three-One offense against the Two-
One-Two zone defense, in Chart 106 the Two-Two-One attack is
used. Player 1 passes to teammate 2 and delays. Player 2 passes to
teammate 5 on the right and follows his pass to replace 5. Player 1
cuts directly at the middle defensive player and then swerves to the
right and receives the ball from teammate 5. Player 5 immediately
240
BUILDING A STYLE OF PLAY
cuts for the basket. Player 3 moves toward the right corner along
the baseline. Player 4 replaces player 1 in the backcourt for de-
fensive balance. Player 1 may now shoot or pass to teammate 3,
5, or 2.
Chart 106
Chart 107
BUILDING A STYLE OF PLAY
241
The Two-Two-One attack is again used against the Two-One-
Two defense in Chart 107. Player 1 passes to teammate 2 and re-
places 2. Player 2 passes to teammate 5 on the right and follows his
pass to replace 5. Player 5 passes to teammate 3 who has cut to the
right corner, and then 5 cuts for the basket. Player 4 on the left de-
lays until the ball is passed to teammate 3 and then cuts as shown.
Player 3 now may pass to teammate 5, 4, or 2, or he may shoot
from the corner.
ATTACKING THE TWO-THREE ZONE
Chart 108
In Chart 108 player 1 passes to teammate 5 and follows the ball
to replace 5. Player 4 replaces 1 in the backcourt for defensive bal-
ance. Player 2 cuts for the right corner. Player 3 breaks out from
the baseline to the ball. Player 5 passes the ball to player 3 and
drives for the basket. Player 3 may shoot or pass the ball to team-
mate 2, 5, or 1.
242
BUILDING A STYLE OF PLAY
Chart 109
In Chart 109 player 1 passes directly to the post player 2 and
moves to the right to replace player 5. Player 2 pivots as soon as he
gets the ball and takes one bounce preparatory to taking a shot. As
soon as player 2 gets the ball, teammate 5 cuts for the basket and
the baseline player moves to the corner. Player 4 replaces teammate
1 in the backcourt for defensive balance. Player 2 may shoot or
pass to teammate 3, 5, or 1.
ATTACKING THE ONE-TWO-TWO ZONE
The Two-Two-One surrounds the One-Two-Two zone in Chart
110. Player 1 passes to teammate 2 and replaces him for defensive
balance. Player 2 passes to teammate 5 and follows his pass to re-
place 5. As player 5 receives the ball, player 3 breaks to a post posi-
tion on the lane. Player 5 passes the ball to teammate 3 and cuts
to the corner. Player 4, on the weak side, cuts behind the zone and
under the basket. Player 3 may shoot or pass to teammate 4, 5, or 2.
In Chart 111 player 1 passes to teammate 2 and replaces him for
defensive balance. Player 2 passes to teammate 5 and follows his
pass to replace player 5. Player 4, on the weak side, cuts across to a
/
BUILDING A STYLE OF PLAY
243
Chart 110
post position on the right side of the lane. Player 5 passes the ball
to teammate 4 and drives for the basket. Player 3 moves to the
right corner. Player 4 may now attempt a shot or pass to teammate
3, 5, or 2.
Chart 111
vZO
244
BUILDING A STYLE OF PLAY
Chart 112
ATTACKING THE THREE-TWO ZONE
In Chart 112 player 1 passes the ball to teammate 2 and follows
the path shown to cut to a post position on the right side of the
lane. Player 2 passes the ball to teammate 5 and follows the pass
to replace 5. Player 5 passes the ball to teammate 1 and cuts for the
right corner. Player 3 moves along the baseline to the left side of
the basket. Player 1 may now shoot or pass to teammate 5, 3, or 2.
In Chart 113 player 1 passes the ball to teammate 2 and follows
the pass to replace 2. Player 2 passes to teammate 5 and follows
his pass to replace 5. As soon as player 5 gets the ball, player 3
breaks out beside the lane and receives the pass from player 5.
Player 4 breaks from behind the zone and along the baseline and
under the basket. Player 3 may attempt a shot or pass to teammate
5, 4, or 2.
BUILDING A STYLE OF PLAY
245
Chart 113
ATTACKING THE ONE-THREE-ONE ZONE
Chart 114
246
BUILDING A STYLE OF PLAY
In Chart 114 player 1 dribbles to the right, passes the ball to
teammate 5, and reverses to the left side to replace teammate 4.
Player 5 passes the ball to teammate 3 who has moved to the
corner. Player 5 then replaces player 1 for backcourt defensive
balance. Player 2 cuts directly down the lane and then breaks right
to receive the ball from player 3. Player 4 cuts from behind the
zone to the basket. Player 2 may attempt a shot or pass the ball to
teammate 3 or 4. If these players are covered, he can pass the ball
to teammate 1 who waits on the weak side.
Chart 115
sn
In Chart 115 player 1 dribbles to the right and passes to team-
mate 2. Player 2 fakes a shot and passes to player 3. Player 3 pivots
around prepared to shoot. Player 4 breaks from the weak side to-
ward the basket and along the baseline. Player 5 on the right side
does likewise. After his pass, player 2 cuts to the right as shown.
Player 3 may shoot or pass to teammate 5, 4, or 2. Player 1 remains
in the backcourt for defensive balance.
BUILDING A STYLE OF PLAY 247
THE THREE-TWO OFFENSE
The offensive formation for the Three-Two is similar to the five-
man give-and-go weave. The comer players 4 and 5 may be used
as "flash" post or pivot men. The corner men generally replace one
another, moving from one side of the front court to the other and,
when necessary, assuming backcourt duties as well as sharing in the
defensive-balance responsibility.
The three backcourt players use give-and-go tactics, inside and
outside screens, dribble blocks, and slicing plays to free a team-
mate for a drive to the basket.
The best results are probably obtained by "ball-ahead-of-the-
man" tactics instead of the "man-ahead-of-the-ball" found in the
give-and-go attack. The usual give-and-go weave with the reverse
continuity is used to maintain court and defensive balance.
THE BASIC ZONE OFFENSE
Zone defenses vary so much in formation and usage that it is im-
possible to teach a specific attack to meet all the types that may be
met in a particular season. It is far better to teach one or two basic
offenses and depend upon these to meet the various zones, chang-
ing their alignment as changes are found necessary to meet the
peculiarities of the various zones encountered.
At North Carolina University we use the One-Three-One and the
Two-Two-One formations as our basic zone offenses. We have
found that we can meet any type of zone with these two forma-
tions. We try to use these two basic zone-offense formations in
such manner that we outnumber one defensive part of the zone.
Then we center our attack at this point.
In attacking any zone we try, naturally, to use the fast break to
reach attacking territory before the opponents can get their de-
fensive zone set up. When we are unable to develop a fast-break
248 BUILDING A STYLE OF PLAY
situation, we slow down and adapt one of our two basic offenses to
the type of zone our opponents employ.
Scouting notes usually suffice to acquaint us with the type of
zone and any variations being used. It is at this point that our
"quarterback" becomes important, since we must assume that our
opponents may plan special defensive measures for us. He must
assume the responsibility of setting up the One-Three-One or the
Two-Two-One attacking formation. However, all of our players
have been familiarized with their assigned positions and duties and
advance to them confidently with little lost time. As soon as the
opponents' type of zone is revealed, the players recognize the plays
necessary and attack immediately.
We emphasize the short pass; player movement from the rear
(behind the zone opponents); a strong follow-in game; shots down
the middle (from the backcourt right on through the free-throw-
circle area and into the lane) ; shots from the sides and corners; and
player replacement (when a player cuts, he usually pulls an op-
ponent away from that particular zone area).
Our players are aware that a zone loses much of its strength
when they can make it move and keep it moving. Further, they
realize that a zone that can be opened up (spread) leaves open-
ings from which good shots may be obtained. Constant movement
with the use of short, fast passes and the elimination of bad shots
means success.
Dribbling, bouncing the ball, holding up the passing, too much
use of feints and fakes, cross-court passes, and bunching the offense
work to the advantage of the zone. So the rule is to keep the ball
hopping and to use the planned and practiced moves necessary to
force openings for good shots.
There are a great number of zone formations, but we have found
that our competitors show preference for the various types in the
following order:
1 Two-One-Two zone
2 Two-Three zone
BUILDING A STYLE OF PLAY 249
3 One-Two-Two zone
4 Three-Two zone
5 One-Three-One zone
With that classification as a starting point, we utilize our two
basic zone offenses to set up attacks as shown in Charts 99-103.
The zone alignments shown in Charts 104-115 are used only
to permit the presentation of the basic zone defenses. Naturally,
the movements of the attacking players and the progress of the ball
result in various zone shifts. If the basic zone offenses do not work
as applied to the various zone defenses, one may be substituted for
the other. A few of the changes in the offensive moves and the
probable zone reactions follow.
4
preparing for attack
situations
JUMP-BALL TEAM PLAY
Center-tap plays are not nearly as important as in the days of
the center jump following a score. In a close game, however, the
advantage to be gained in obtaining possession in more than half
of the 15 or 20 times a held ball occurs during a game may mean
the difference between victory and defeat. To win close games a
team must at least break even in the recovery of the ball in these
situations.
The chief concern in any jump-ball situation is to make sure of
possession. The opening tap for each half and those at the begin-
ning of the quarters are important because they enable a team to
take control of the game, to get the "feel" of the ball. In the over-
time period or periods, possession from the tap is vitally important
because of the limited time left to play.
The development of plays from the center-tap and jump-ball
situations implies control of the tap. However, the prevalence of
tall players in basketball today means that practically all teams
have one or more fine jumpers and there is always the chance of
loss of the tap. Further, the setting up of worth-while plays means
that defensive balance must be weakened in some spot.
At North Carolina University we prefer to make sure of posses-
sion of the ball. Plays are disregarded until the ball is securely in
hand. This does not mean that the center-tap and jump-ball situ-
250
PREPARING FOR ATTACK SITUATIONS
251
ations are neglected. Far from it. Considerable time is devoted to
jump-ball formations and all players are given positive assignments.
These assignments are defined by the signals used in designating
the position to which the ball will be tapped and the screening or
blocking necessary by teammates to free the receiver.
Chart 116
The Deep Back Tap shown in Chart 116 is an almost sure pos-
session tap, provided that each player does his job. The objective
is to get the ball at all costs. Player 1 is expected to tap the ball as
far behind him as possible in the direction of his opponents' basket.
Teammates 2 and 3 are in a good blocking position and must keep
opponents B and C from following the ball. That is their only re-
sponsibility. Player 4 or player 5 or both are assigned to go get
the ball. Good bluffing is important here since the opponents will
make it tough to get the ball if they are aware of the play. Maneuver-
ing by players 4 and 5 as if they expect to get the ball will help. As
soon as player 1 strikes the ball backwards, players 4 and 5 will
dash downcourt for the ball. This is a fairly safe play even if it fails,
since all of the circle players, 1, 2, 3, 4, and 5, are in proper de-
fensive positions.
PREPARING FOR ATTACK SITUATIONS
253
The photograph on page 252 illustrates the usual jump-ball
formation. However, the danger of a long forward tap toward the
opposite basket is apparent here. Should the jumper in the dark
suit get the tap and succeed in slapping the ball far down the court,
his teammate 40 on this side with his left hand raised above his
head should be able to pivot and beat his opponent 1 1 in the dash
downcourt to the ball and score an easy basket. This is a simple
but effective play and occurs in many games. Note the defensive
foot positions of the guards in the dark suits.
Chart 117
Chart 117 shows a fairly safe front-court jump-ball play. Player
1 must be considered a better jumper than his opponent A. The
ball is tapped slightly forward to teammate 4. Player 3 cuts around
behind teammate 2 and will continue on toward the basket should
player 4 get the ball. As soon as player 3 passes, player 2 must drop
back fast for defensive balance. If the tap is lost, players 3 and 4
dash for the backcourt to pick up opponents. If player 4 gets the
ball he may shoot, pass to teammate 5, teammate 1 (the jumper),
or to teammate 3 driving for the basket.
254
PREPARING FOR ATTACK SITUATIONS
Chart 118
Chart 118 shows a center-jump formation that offers good pro-
tection with some opportunity to secure the ball when the jumpers
are about equal in leaping ability. Naturally, opponent B may not
maintain the position shown in the chart. The use of the deep back
tap is evidenced by the player positions shown in the chart. If any
other tap is attempted, it must be to player 3 and away from his
opponent. In the illustration, player 1 taps to his left and player 3
secures the ball. Player 2 drives away from his opponent B and cuts
past the screen provided by teammate 4 and 4's opponent D. The
PREPARING FOR ATTACK SITUATIONS
255
center 1 breaks in front of the post set by the tap receiver 3 and
drives for the basket. Player 3 may pass to teammate 2 or to the
center 1, or may dribble in for a shot. If he passes the ball to a
teammate, he reverses and drives for the basket. Players 4 and 5
provide defensive balance.
Chart 119
A back tap by player 1 in the Chart 119 setup is dangerous.
Teammates 4 and 5 are busy defending against D and E who are in
good shooting positions. The ball should be always tapped to the
sides or far downcourt when opponents such as B and C are play-
ing tightly up against teammates 2 and 3. In the chart player 1 taps
the ball to teammate 2 and cuts to the right of the official. Player 3
cuts diagonally as in a fast break. If teammate 2 passes the ball to 1 ,
he will dribble down the center of the court while players 2 and 3
fill the outside lanes.
256 PREPARING FOR ATTACK SITUATIONS
Figure 120 (pages 257-9) illustrates player positioning on out-of-
bounds plays. In the first, the three-man screen play is shown on
the blackboard. The screen is set on the free-throw line and the
play is designed to free player 2 standing behind his three team-
mates in the outer half of the free-throw circle. Here, player 2's
opponent B is waiting in the free-throw lane and player 2 can back
up, receive a direct pass, and have a free shot at the basket.
In the second photo the three-man screen play is shown with the
opponent of the player for whom the screen is set (40) playing with
his back to the screen. Player 40 can fake right and cut left or vice
versa and should have little difficulty in getting free.
In the third photo a different formation is set up. Player 42 has
the ball out of bounds and has lifted it above his head as a signal for
the play to start. The big man 41 will back up still facing the ball.
Player 35 will hold his position and teammates 40 and 41 will
scissor behind him. Player 31 will cut first and go to the left corner.
Player 40 will cut second and drive to the right of the free-throw
lane and then cut sharply back (left) and toward the ball for the
play. He is the number-one receiver. Player 41 is the second re-
ceiver. Player 31 is the third and player 35 will be the fourth.
Player 35 holds his position until teammates 31 and 40 have cut
past him. Then he will fall directly back and receive the security
pass if his other teammates are covered.
OUT-OF-BOUNDS PLAYS
Out-of-bounds plays occur in about the same proportion as held-
ball plays. However, the scoring possibilities are far greater, par-
ticularly in under-the-basket plays. A quick score from an out-of-
bounds play shakes the confidence of opponents and increases the
scoring team's morale. Hundreds of clutch games are won each year
by the use of well-executed out-of-bounds plays in the closing min-
utes or seconds of a close game. This is sufficient reason for the use
of considerable practice time to perfect the plays.
260 PREPARING FOR ATTACK SITUATIONS
Sideline out-of-bounds plays from the center of the court do not
lend themselves as effectively to scoring possibilities as do those
under the basket. However, they are more easily intercepted and
are designed and practiced because the threat of a score makes the
opponents guard the under-basket area and lessens interception
attempts.
Out-of-bounds plays should be well planned and should be
adapted to the abilities of the respective players. Each player should
have a definite assignment. The best passer should handle the ball
out of bounds. He will usually be one of the backcourt quarter-
backs, preferably the taller of the two. Some teams press one of the
front-court players, the big man or a corner man, into use when the
ball goes out of bounds under the basket. A backcourt player takes
the ball out of bounds in other situations.
The player who takes the ball out of bounds must keep the ball
moving, faking right and left and up and down; he must avoid tele-
graphing his pass. Some sort of a signal should be used to initiate
the movement of the players and the pass of the ball in court.
The big man should be placed near the basket if possible and
used for blocking purposes or as the receiver of a high, safety pass.
Spot shooters should be placed in the formation so that they can cut
to the positions from which they shoot best.
Each out-of-bounds play should have several options and each
play should look and start alike. Charts 121-128 present several
types of sideline and under-basket out-of-bounds plays with vari-
ation possibilities that lend themselves to use by all types of players.
In Chart 121 players 3 and 1 cut as shown and hold block posi-
tions on the right side of the lane. Player 5 holds his position until
the cutter 2 passes. Then 5 cuts across the lane. The play is in-
tended for player 2. Other receivers are teammate 5 and players
1 and 2 who have cut to the backcourt to set up defensive balance.
In Chart 122 player 2 cuts first across in front of teammate 1.
Player 3 cuts as before to a block position on the right side of the
lane. Player 5 holds his position until the cutter 1 has cleared be-
PREPARING FOR ATTACK SITUATIONS
261
hind him and then cuts to the backcourt for defensive balance. Player
3 also waits until the cutter 1 clears before moving to the backcourt.
Player 1 fakes right and cuts behind teammates 2, 3, and 5 for the
basket.
262
PREPARING FOR ATTACK SITUATIONS
Chart 123
In Chart 123, depending upon how he is played by his opponent,
player 1 cuts to the right or to the left. Here he cuts left and re-
ceives the ball from player 4. Player 4 cuts in bounds. As soon as
player 1 gets the ball, teammates 2, 3, and 5 move as shown. Play-
ers 2, 3, and 5 must be aware that the three-second rule is effective
as soon as teammate 1 receives the ball and they must make sure to
get out of the lane. After passing the ball to teammate 1, player 4
circles as shown for the return pass and a shot in front of the basket.
If player 4 is unable to pass to 1, he passes to 3 who cuts to the
right corner.
Chart 124 shows four players now spread across the lane. Play-
ers 2, 3, and 5 hold their positions until player 1 cuts behind them
and to the right corner. Then player 2 drops straight back. Player
4 passes the ball to teammate 1 and cuts through the hole left by
teammate 2. Players 3 and 5 must get out of the lane as soon as
teammate 1 receives the pass to avoid the three-second penalty. If
player 1 is not free for the pass, player 4 will pass to teammate
2, 3, or 5. If player 1 gets the ball, he will watch for his out-of-
bounds teammate 4 and return the ball as shown if possible.
In Chart 125 player 1 cuts in front of teammate 2 and back to
the backcourt for defensive balance. Player 5 holds fast until player
2 cuts behind him. Then he cuts for the left corner. Player 3 backs
PREPARING FOR ATTACK SITUATIONS
263
Chart 124
I ( (Q
fe
)(D(|
•->>
L
u
a
up as soon as the cutting signal is given by player 4 (with the ball) .
Player 4 may pass to teammate 2 as shown or to teammate 3, 5, or
1 in that order.
Chart 125
264
PREPARING FOR ATTACK SITUATIONS
In Chart 126 player 1 screens across in front of teammate 2 and
goes to the right corner. Players 3 and 5 hold fast until player 2 has
cut behind them. Then they move as shown. The play is really set
up for the pivot man 3. If player 4 cannot pass to 3, he should pass
to players 1 or 5. Naturally, if the cutter 2 gets free, player 4 will
pass the ball to him before considering player 3.
The chief concern in Chart 127 is safe possession of the ball.
Player 3 is the big man and the best ball handler. He comes in high
in the air after faking toward the basket. Player 1 gives him a high
pass and cuts for the basket as shown. Player 2 moves to his left
and sets a block for teammate 4 who cuts around the block and
joins teammate 1 in splitting the post set by player 3. Player 5 cuts
hard for the basket and then reverses to the backcourt for a safety
pass and defensive balance. Player 2 holds his block until team-
mate 4 passes and then retreats for defensive balance. If player 1
cannot hit teammate 3, he passes to player 4, 5, or 2, in that order.
Many plays are possible from the formation shown in Chart 128
but the emphasis here is placed on possession. On the signal,
player 3 drops straight back one long step. Player 2 cuts as shown,
and player 4 holds fast. Player 3 waits until teammate 5 has passed
PREPARING FOR ATTACK SITUATIONS
Chart 127
265
Chart 128
266 PREPARING FOR ATTACK SITUATIONS
behind him and then cuts around teammate 4 and toward the
basket. As soon as teammate 3 has passed him, player 4 cuts
diagonally and hooks back. Player 1 (out of bounds) should pass
to 5 if possible. If this pass is not possible he should pass to player
2, 3, or 4, in that order.
PLAYING THE LANE
The position of a defensive player next to the basket on each
side of the lane when a free throw is being attempted has lessened
the opportunities for the offensive team to secure the ball following
an unsuccessful free throw. Despite the handicap, however, many
players occupying the outside offensive positions have the necessary
coordination and timing ability to get a good tap-in position. If a
follow-in tap shot is impossible, some of these players retain pos-
session for their team by slapping the ball back to the shooter or
to the defensive teammates in the backcourt.
Frequently, a rebound will be deep enough to reach the shooter
on the free-throw line. He should be prepared to "put the ball back
up" and concentrate on making the second shot. If he is too closely
pressed to get the shot away, he can tap the ball back to the team-
mates behind him who are setting up the defensive balance.
It is important that the players of both teams make sure that they
do not make contact with the lines or enter the lane until the ball
has touched the backboard or the rim of the basket.
THE CONTROL GAME
Control basketball is as important as the popular "run-and-fire"
game. And, contrary to the opinion of many people, the control
game can provide just as many tense and dramatic moments as the
high-geared firehouse brand of basketball. When teams play good
defensive basketball, the scoring of a single basket may be as
thrilling as a half dozen of the run-and-throw variety.
PREPARING FOR ATTACK SITUATIONS 267
Control basketball implies that the ball is carefully protected and
controlled through good passing and screening until an almost sure
shot is possible. However, "control" applies to the mental as well
as the physical aspect of the game. Teamplay is the essence. Indi-
vidual play must be forgotten in the interest of the style of play;
every player must be sold on the value of attempting good shots
and, defensively, on playing hard and aggressively so that his op-
ponent will not have a good scoring opportunity.
Control basketball is not limited to offensive play. Defensive
play is equal in importance. Emphasis is placed on making as few
offensive errors as possible (bad passes, forced shots, traveling, ex-
cessive dribbling, violation of the three-second rule, failure to set
up defensive balance) and, through expert defensive play, forcing
the opponents into making costly errors. This all means that the
coach and the players must be prepared to spend as much time in
the development of a strong defense as a strong offense.
Most players regard offensive play as fun and defensive play as
work. With the proper approach, however, playing good defense
can give the real basketball player as much personal satisfaction as
passing, screening, or shooting the ball. It is important that the
coach make clear to his squad by emphasis and the allotment of
time that he considers defensive play equally important with of-
fensive play. Most of us coaches are prone to become involved in
the teaching of passing, dribbling, and shooting to the extent that
we fail to spend an equal amount of time in defensive work.
There is no special system that can be termed control basketball.
It is not a matter of special offensive systems or defensive styles.
Control basketball will work as well with the five-man give-and-go
weave as with any other style. Oklahoma A.&M. uses the four-man
roll with a post-pivot. San Francisco uses a Two-Three formation.
Here at North Carolina University we adapt the control game to our
regular offensive pattern and the use of the Two-Three formation.
To repeat, the success of the control game depends upon the atti-
tude of the players. If they have been sufficiently drilled in main-
taining possession of the ball until they get a good shot close to the
268 PREPARING FOR ATTACK SITUATIONS
basket, and if they will play an aggressive defensive game, the style
of play will be a success.
In our own case, we consider control of the ball vital in meeting
teams who overmatch us in height or speed; and we have used the
control method successfully in many important games.
FREE-THROW PLAY
The facing photograph illustrates the standard offensive and de-
fensive positions in a free-throw situation. The defensive rebound-
ers (in white) have the inside positions under the basket and one
defensive teammate is situated in each corner. The defensive player
guarding the shooter is in a position on the left side of the lane so
that he may step into the lane and guard the shooter 41 as soon as
the ball touches the backboard or basket.
The offensive players 31 and 40 are responsible for defensive
balance and are approximately 15 feet behind the shooter. They
are in a good position should the basket either be made or be missed
and recovered by the opponents. If it is missed and the teammates of
players 3 1 and 40 succeed in tapping it back, they will be in posi-
tion to get the ball.
FREEZING THE BALL
The blackboard drawing on page 270 illustrates the "freeze" as we
use it at North Carolina University. When possible we entrust the
ball to our best dribblers (usually the backcourt players) who keep
possession as long as possible before passing to a teammate and
breaking away from the receiver. In the drawing player 1 dribbles
to the right and passes to teammate 4. He then cuts toward the
other side of the court. Player 4 will probably dribble or pass to the
PREPARING FOR ATTACK SITUATIONS 271
backcourt. If he dribbles out, teammate 2 will break away from the
ball leaving the court open for player 4 and player 3 who may ap-
proach from the left side. Note that the big man 5 is moving back
and forth under the basket on the baseline.
The principle accented here is to spread the defense and allow
the man with the ball plenty of room in which to operate. Opponents
are kept busy so they will not have time to attempt to double-team
the man with the ball. When possible, the man with the ball is given
the whole side of the court to himself so that he may use one-on-one
tactics to keep the ball or break free for a sure shot.
When we are putting on a complete freeze, no shot will be taken
or attempted unless the man with the ball is in position to make an
uncontested lay-up. The formation employed sets up with two men
out and two men in with the big man deploying along the baseline
prepared to break out for a safety pass in case one of his teammates
runs into trouble. The four men handling the ball should be the
best dribblers and passers and should be drilled in the maneuver
until it comes natural for them to dribble, pass, and go away from
the receiver.
There are several other methods that can be employed to freeze
the ball. All are good. One freeze style, for example, spaces four men
along the baseline and permits the team's expert dribbler to work
one-on-one against his individual opponent. Another places the two
tallest and slowest men on the team in the right and left corners
and leaves the ball in the hands of the three best passers who pass
and cut away from one another so that the man with the ball is
always alone on one side of the court while his two teammates
maneuver and keep their opponents busy on the opposite side of
the court.
272
PREPARING FOR ATTACK SITUATIONS
Chart 129
The freeze in Chart 129. is patterned after the give-and-go weave
except that here the passer cuts away from the receiver. The players
in the corners hold their positions as long as possible before ad-
vancing up the sidelines. Even then, they constantly threaten to cut
for the basket. Player 1 dribbles toward the right and passes to
teammate 2. Note that player 2 starts a hard cut for the basket be-
fore reversing. In this widespread formation the change-up can
often be used to break free for an easy lay-up. The middle of the
court and the under-basket area must be kept free. Player 2 dribbles
towards the left and passes to player 3. Player 3 has cut down the
left sideline before retreating to get the ball. After passing to team-
mate 3, player 2 cuts for the right corner to replace teammate 4.
Should a teammate be double-teamed or tied up, one of the corner
men breaks for the basket and up the middle for a pass.
The variation of the "give-and-go-away" freeze in Chart 130
looks complicated but is fairly easy to master. Player 1 gives the
ball to teammate 2 after a short dribble, then cuts back to the left
sideline halfway between the corner and the ten-second line. Player
2 (now with the ball) dribbles to the left, passes to teammate 3,
PREPARING FOR ATTACK SITUATIONS
273
Chart 130
and cuts away to a position halfway between the right corner and
the ten-second line. Player 3 dribbles to the right and passes the
ball to teammate 4 who has advanced up the right sideline and has
cut behind and around the post set by player 2 on the sideline. At
the same time, player 1 has cut across in front of the basket and to
the right corner. After passing the ball to player 4, player 3 re-
verses away from the ball and takes the position on the left sideline
that player 1 has just left. As soon as player 4 cuts around him,
player 2 cuts for the left corner.
Player 4 now has the ball and will pass to teammate 5 who came
up the left sideline and replaced player 3 in the backcourt. Then
player 4 will reverse and cut away from the ball to the halfway
position on the right sideline. Player 1 will now cut around the
block set by teammate 4 on the right sideline and will take the ball
from player 5 who will reverse away from the ball to the left side-
line.
This is an excellent passing drill and if used properly will keep
the defense busy. Should an interception be attempted by the op-
ponent of any of the players in the weave, he should cut immedi-
ately for the basket.
274 PREPARING FOR ATTACK SITUATIONS
FREEZING TIPS
1
Keep the area in front of the basket open at all times.
2
Always cut away from the teammate to whom you pass the ball.
3
When you do not have the ball and are advancing up the side-
lines keep faking a change-up for the basket.
4
Keep the ball out of the four corners (backcourt and frontcourt).
5
Dribble as little as possible.
6
No cross-court or lateral passes. Keep in mind that this is the
most dangerous pass in the game. An interception is a sure
basket for the opponents.
7
Keep moving but hug the baseline in the corner, the sidelines,
and the ten-second line. (Always cut toward the basket a short
distance from the ten-second line so that you will not receive the
ball so close to the line that you have no room to maneuver.)
8
Meet the ball at all times. Don't stand and expect the ball to get
to you. Remember the opponent is interception-minded.
9
No long passes. They are just as dangerous as the cross-court
pass.
10
Keep away from the teammate with the ball. Give him room ,to
PREPARING FOR ATTACK SITUATIONS 275
maneuver and dribble. Go to him when it appears he needs
your help.
11
Keep in mind we are playing out the clock. We are not trying
to score.
12
No shot will be tried unless it is a lay-up and almost impossible
to miss and there is no opponent near the play.
MEETING THE PRESS
There are so many variations of the press that it is almost im-
possible to prepare a team to meet all types. However, for the
purposes of this book they may be classified as the man-to-man and
the zone. In meeting the press (zone, man-to-man, or a variation) a
planned and practiced attack should be so thoroughly mastered
that the players are ready and able to put the proper maneuvers
into immediate use. At North Carolina University we feel that a
good dribbler is the key to an attack against any form of the press.
In order to give him room to operate successfully, the offense should
be spread. With plenty of room to maneuver, the dribbler will be
able to use his one-on-one ability to advance the ball. If the back-
court area is congested, the dribbler will have difficulty avoiding
possible double-teaming by the opponents.
Besides having a planned and practiced attack against the press
it is important that the players be mentally prepared so that they
feel confident of their ability to handle the situation. Assigned posi-
tions, duties, practice, and the players' own use of the press will
strengthen their confidence in their ability to handle the situation.
And, if they are reminded from time to time that their basic offenses
enable them to work through zones and man-to-man defenses in one
half of the court, they will realize that advancing the ball when the
opponents are attempting to guard all over the court is compara-
tively easy.
276
PREPARING FOR ATTACK SITUATIONS
Chart 131
In Chart 131 player 1 (best passer) takes the ball out of bounds.
He may pass the ball in from any position along the baseline and
should not be afraid to move to get it to teammate 2. Teammate 2
is the dribbler. Once he gets the ball, his teammates maneuver their
opponents so t&at they are kept out of the center of the court.
However, 3, 4, and 5, are ready to break back to help player 1 if
he is unable to get the ball to the dribbler 2, or to help player 2 if
he runs into trouble after receiving the ball. Note that player 5 is
far downcourt and is prepared to break back up the middle and in a
straight line with the ball for a long, high pass if it is necessary.
Player 1 follows upcourt for defensive balance.
PREPARING FOR ATTACK SITUATIONS
277
Chart 132
In the attack against the press shown by Chart 132, player 1
moves along the baseline and then passes to teammate 2 who breaks
directly back to the ball. Player 1 cuts straight upcourt and then
reverses to receive the ball from teammate 2. Player 2 then cuts
straight upcourt and reverses for the return pass. Players 3, 4, and 5
are prepared to help out in case they are needed.
278
PREPARING FOR ATTACK SITUATIONS
Chart 133
In Chart 133 player 1 passes to teammate 3 instead of to player 2
as formerly. Player 1 follows his pass and then angles left upcourt.
Player 3 passes to teammate 2 who has cut ahead of the ball. Player
3 changes direction and cuts ahead of teammate 1. Teammate 1
passes the ball ahead to teammate 3. Player 3 passes ahead to
teammate 2 and the passing continues until the press retreats. Play-
ers 4 and 5 are ready to break to the ball if they are needed.
PREPARING FOR ATTACK SITUATIONS
279
Chart 134
-=$
In Chart 134 player 1 holds the ball until player 3 has set a
screen for the dribbler 2. He then passes the ball to player 2 who
dribbles upcourt. Player 1 follows the right sideline and player 3
breaks up the center of the court. Teammates 4 and 5 are prepared
to come back to assist if needed.
280
PREPARING FOR ATTACK SITUATIONS
ATTACKING THE SAG AND THE FLOAT
The sag and the float are employed today to such an extent that
it can be safely said that all teams use zone principles in their man-
to-man defense. Most of our plays are basically the one-on-one, the
two-man give-and-go, and the three-man type. This means that two
of our players are comparatively free.
Since the one-, two-, or three-man plays are usually on one side
of the court, the opponents often attempt to sag and float away from
the free players or away from the weak side of the court (opposite
to the side on which the play is being attempted).
We try to take care of these weak-side "floaters" and front-line
"saggers" by requiring our free players to interchange positions and
employ cutting fakes to keep their opponents busy. When the inter-
changing does not work, we set up screen and block plays against
the opponents who are sagging or floating.
Chart 135
In Chart 135 players 1, 2, and 3 are working a play on the right
side of the court. Opponents D and E are sagging and floating away
from players 4 and 5.
PREPARING FOR ATTACK SITUATIONS
Chart 136
281
In Chart 136 player 1 passes to teammate 2 and reverses to set
an inside screen between teammate 4 and his opponent D (the
sagger). Player 2 passes the ball to the big man 3 who dribbles
across the lane and sets a block behind teammate 5's opponent (the
floater), defensive player E. Players 4 and 5 cut as shown and
should be able to evade their opponents because of the screen and
block.
ATTACKING DEFENSIVE VARIATIONS
This book is not large enough to discuss and diagram all the
defensive combinations and variations. The combinations range
from front-line man-to-man with a back-line zone defense to four-
man zones with the remaining player playing a specific attacking
opponent on a man-to-man basis.
The screen-switch defense in which defensive players change or
switch opponents every time the attacking players cross must be
included in these combination defenses, as must those defenses in
which four men play man-to-man and one man (usually a tall, agile
player) plays a one-man zone. With a few adjustments, the basic
offenses that have been outlined can be employed against any of
these combinations and variations.
282
PREPARING FOR ATTACK SITUATIONS
When the front line of the defense plays man-to-man and the
rear line plays zone, it is perhaps best to direct the offense against
the front-line players, attempting to outnumber the man-to-man
opponents, since the back-line zone players will be anchored be-
cause of their rebound responsibilities. Naturally, the attack should
be directed against the back line should the front line be playing
zone and the back line man-to-man.
When the back-line players are using zone principles, it is often
possible to use them as blocking posts and attempt to drive their
teammates (the players using man-to-man tactics) into the blocks.
One of the remaining offensive players should operate behind the
back zone line and the other should be used to assist in outnumber-
ing the front-line man-to-man opponents.
The screen-switch defense is often used as a basic team defense.
However, some teams restrict the use of the switch to the front-line
defensive players. At any rate, the principles used to attack the
front line also apply to the back line.
Chart 137
In Chart 137 offensive player 4 is being guarded on a man-to-man
basis by defensive player D. Instead of trying to score, player 4
works as a passer or to cut behind the zone while his teammates
attack the four-man zone box which is set up around the free-throw
PREPARING FOR ATTACK SITUATIONS
283
lane. A simple but excellent play is shown here. Player 1 dribbles
slightly to the right to draw opponent B away from the big man 3
so he can make sure of the pass. As soon as player 3 receives the
ball, he whirls as shown and dribbles down the lane. He can stop
and attempt a jump shot from the center of the lane or pass to team-
mate 2 and 5 who will cut behind the player who attempts to stop
his shot. Player 4 keeps his opponent on the move and can move
behind teammates 1, 2, and 5 so they will have a positive screen
over which to attempt a set shot.
Chart 138
Against the switching defense a change of direction is most effec-
tive. It may be included in a roll offense, the five-man give-and-go
weave, or the Two-Three offense. In Chart 138 player 1 passes to
teammate 2 and starts a screen between 2 and his opponent B. Just
as player 1 reaches the point of entry into the inside screen, he
changes direction and cuts down the middle of the lane. The big
man 3 rolls away from the basket prepared for a pass should his
opponent C switch to pick up player 1 .
284
PREPARING FOR ATTACK SITUATIONS
Chart 139
In Chart 139 the defensive players A and B are playing against
offensive players 1 and 2 on a man-to-man basis. The other de-
fensive players, C, D, and E, are using zone tactics to take care of
the back-line defense. Player 1 passes to teammate 4 and cuts to the
left to clear his opponent from the play. Player 4 dribbles to the
right, passes to teammate 2, and reverses. Player 2 dribbles sharply
toward the basket. Defensive players C and E will have to cover
players 4, 3, or 5. One of the three should be open for a pass.
5
game organization,
scouting, strategy
organization for game day
Coaches who go into a game without a carefully prepared battle
plan are begging for trouble. You simply can't leave everything to
memory or divine providence. To assure an efficient performance
by yourself and your team, you must follow a master blueprint — a
plan that derives the most from your system and enables you to ad-
just to any situation or emergency.
The following game-day plan (which will later be broken down
into detail) is observed at the University of North Carolina:
GAME DAY PLAN
Locker room before game:
1
Go over offensive scouting notes.
2
Decide on starting lineup.
3
Decide on offense to start in game.
285
286 GAME ORGANIZATION, SCOUTING, STRATEGY
4
Adjustments to be made according to offensive situations.
Style of game to be played:
1
Normal game.
2
Control basketball.
3
Hold ball back.
4
Fast break.
5
Semi-press.
6
Full-court press.
Pre-game practice:
1
Warm-up drills.
2
Set shooting . . . jump shooting.
3
Foul shooting.
4
Go to dressing room for final instructions.
GAME ORGANIZATION, SCOUTING, STRATEGY 287
GAME STRATEGY
First time-out:
1
Huddle in time-out.
2
Players do not talk unless asked a question, or if injured or tired.
3
Discuss possible changes in offensive strategy.
Substitutions:
1
Reason for substitutions.
2
Decision on personal fouls, whether to take out player or to leave
him in the game.
3
Decision on four personal fouls, whether to take out player or
leave him in game until he fouls out.
Between halves:
1
Check score book . . . look over shot chart.
2
Tell players of their own personal fouls and of the fouls on the
opponents.
3
Observe leading scorer on other team.
288 GAME ORGANIZATION, SCOUTING, STRATEGY
4
Make adjustments in offense if necessary.
5
Give starting lineup for second half.
Decisions:
1
When to freeze ball if we are leading.
2
Plays with seconds to go.
3
Offensive match-ups.
locker-room details
Our team arrives at the dressing room one hour before the game.
After the squad has dressed and the trainer has checked each player,
we have a meeting.
At this meeting we go over the scouting report for the last time.
The names, numbers, heights, and offensive notations are put on a
large blackboard so that the players can easily remember the
significant details.
We decide on the starting lineup and announce it to the team.
This lineup will depend a great deal on the lineup of the opponents.
We usually try to start three big men and two smaller men (the
regular backcourt men). We may alter this if we intend playing a
fast-breaking game.
Our initial offense also depends on the nature of our starting
lineup.
pre-game practice
In warming up before the game we use a three-man passing drill
with a lay-up for about five minutes. The purpose of this is to warm
GAME ORGANIZATION, SCOUTING, STRATEGY 289
up the muscles and to loosen up generally. This part of the practice
is supervised by the trainer, who is always present. After this first
drill, we take set and jump shots with certain players working on
their pivot and hook shots underneath. Finally, the starting team
and the first-line substitutes practice their foul shots. Then the squad
returns to the dressing room for a final briefing.
OFFENSIVE GAME STRATEGY
style of game to be played
We mix up the following offenses in a general pattern: single
pivot, five-man give-and-go weave, post offense, fast break, and
full-court press.
We play our normal game whenever our opponents use a basic
man-to-man defense, starting off with our regular offense as given
above.
We'll play a control game whenever our opponents dominate the
backboards and are giving us only one shot at the basket. When our
opponents are using a running game or are a well-known fast-break
team, we try to slow them down by holding on to the ball and tak-
ing only good shots. In other words, we try to get the other team to
play our style of game. Usually a fast-breaking team isn't familiar
with control basketball, and this should work to our advantage.
We'll hold the ball against a team superior in manpower and
bench strength, and as a change in tactics. This style of game is
tremendously disliked by spectators, and can be used only on rare
occasions. You will find that the opponents will usually go into a
full-court press to try to break it up.
the first time-out
Once the game starts, we let the team play as planned until it
becomes necessary to change some of our plans. This we do in the
290 GAME ORGANIZATION, SCOUTING, STRATEGY
first time-out. Our players huddle in a group in front of our bench,
and are taken care of by the trainer. Players do not talk in the
huddle unless asked a question or unless one is injured or tired and
wants a rest.
During this first and subsequent time-outs, we discuss the strategy
to be used; or, if the other team has taken the time-out, we may
leave things as they are. Sometimes the work of the scout is thrown
out the window at the first time-out. That happens whenever op-
ponents have completely changed the style of play or are using
players different from the ones originally scouted.
We try to save our time-outs until the end of the game, when we
may need them in order to stop the clock and try some new moves.
substitutions
The first substitution is usually an important one. With this move,
you may change the style of game you have been playing. For ex-
ample, by substituting a small man for a big man, you might change
from a pattern offense to a fast-break attack. Or, by inserting an-
other big man into your lineup, you might switch to a double pivot
under the boards. Of course, you do not necessarily have to change
your style of play. The first substitute might merely be a replace-
ment for a player who isn't doing too well.
Some coaches will immediately remove a player who picks up
three personal fouls; others won't take him out unless it is very
close to the end of the half. Experience has proved that foul No. 4
quickly follows foul No. 3, and coaches gamble on this. They may
open the second half with the player having three fouls and go along
with him until he draws his fourth. At this point, they will yank him
out and wait for the closing minutes before putting him in again.
Other coaches believe in leaving a player in regardless of his
fouls. They feel that a boy doesn't play as well after a stretch on the
bench. This probably will always remain a moot question.
It helps to have a unit in reserve that has been trained in freezing
GAME ORGANIZATION, SCOUTING, STRATEGY 291
the ball or in throwing up a full-court press. A unit like this will
come in handy in the final minutes of a close ball game.
between halves
During the first half we have one of our managers chart the shots
taken by the players of both teams. This shot chart tells us at a
glance where the opponents are hitting and enables us to make any
needed defensive adjustments.
Together with the score book, the chart tells the story of the first
half. From this evidence, plus the intense observation by my as-
sistant and the freshman coaches, who take notes on the bench, we
arrive at decisions for the second half. We may stick with the same
lineup that finished the first half or we may make certain changes
to meet some new situation that has arisen.
We study the score book and tell our players how many personal
fouls they have committed and the number on each of our op-
ponents. We warn them about the number of time-outs we took
during the first half, and to avoid taking an extra time-out at the
expense of a technical foul.
We make certain observations about the leading scorer of the
other team and offer suggestions on how to stop him. At this point
we may also decide to change our match-ups. If our offense is be-
ing stopped, we'll make adjustments — changing our style if neces-
sary. For example, if the other team has a bigger player than our
pivot man, we'll stop using a single-pivot offense and put our big
man in the corner or at the side, wherever we think he'll work best.
This, we hope, will take the opposition's big man away from the
defensive boards (if they're playing man-to-man).
decisions
When to freeze the ball when ahead. It takes a lot of expe-
rience to learn when to go into a freeze and how to operate it.
292 GAME ORGANIZATION, SCOUTING, STRATEGY
We've been both right and wrong on this matter. It is very difficult
to set up any hard and fast rule. It's really a personal matter for
the individual coach since he knows the type of player he has and
the ability of the team to apply a successful freeze.
We freeze or stall at the end of the game whenever we think our
lead is sufficient. We freeze the ball in this manner:
FREEZING THE BALL
1
We open up the court by keeping the area under the basket open
—that is, free from pivot men or post men. We send the big men
to the corners or to the baseline.
We move the ball and the men. We never hold the ball too long,
since a man who does so is an easy target for a double-team sit-
uation. We sometimes put in another smaller man ... an out-
standing dribbler ... to help freeze the ball.
3
We try to eliminate long and cross-court passes.
4
We go away from the receiver when passing the ball to pre-
vent double-teaming.
We stay away from the lane and the ten-second line as much as
possible.
On occasion we use continuity freeze offense with the five men
getting into the passing, or a four-man passing freeze with one
of the big men setting up a post outside the free-throw lane.
A common weakness in freezing lies in forgetting to score or not
trying to get an easy basket and increase the lead. When the op-
GAME ORGANIZATION, SCOUTING, STRATEGY 293
ponents are using a tight man-to-man defense, plays can be worked
down the middle and on the sides with a change-up.
Special plays— with seconds to go. It's advisable to have
some plays ready for situations where the clock is running out and
your team is down by two or three points. If you don't have the
ball, then everything must be done to secure it, such as double-
teaming, gambling on interceptions, and possibly fouling the player
least likely to convert his free throws. In this case you must get the
rebound on the missed try.
The plays with seconds to go should revolve around double and
triple screens around the free-throw line. Nearly every coach has
these ready for the last seconds. They can be discussed during the
time-out near the end of the game. Also, an individual player with
drive should be given the ball for the three-point play, his team-
mates opening up the center of the court under the boards so he
can have room to drive.
scouting opponents' offense
Almost all coaches appreciate the value of scouting information,
and a good basketball scout is worth his weight in gold. At North
Carolina University we keep a special scouting file in which pertinent
information concerning old and new opponents is kept from year
to year. These notes are supplemented by school brochures, articles,
player information sheets, newspaper clippings, and so forth. The
information provided by the scout is so vital that it is important the
man selected know as much basketball as the coach himself.
Scouting is no longer considered unethical, and it is wise to ar-
range for transportation and scouting game tickets far enough in
advance so that the scout will not be embarrassed in trying to get a
good seat or, as has happened, find it impossible to gain entrance
because of a complete sellout. A seat at the end of the court at as
high an elevation as possible is to be preferred, although that is,
naturally, a matter of personal likes and dislikes. It is felt that the
294 GAME ORGANIZATION, SCOUTING, STRATEGY
end view is best because it allows the scout to see the development
and execution of the offensive plays as well as the defensive pro-
cedure.
It is my opinion that an assistant coach, the freshman coach, or
the head coach himself will do the best scouting job. He is familiar
with the players and their capabilities. It is often advisable to pass
the notes along to the freshman or the jayvee coach and have the
players of these teams drilled in the offense and defense used by the
opponents. Here, 'indeed, "one picture is worth a thousand words,"
and your players can better visualize the opposition by seeing it
acted out. Naturally, the scout should supervise the demonstrations
and supplement them with a complete report and player discussion.
Scouting must, of necessity, cover a great many phases of the
game: the offensive and defensive background of the coach as a
player and/or as a veteran mentor, his strategic specialties, the
players and their degree of experience as well as abilities, the quality
of the teamplay, the ability of the team to employ special offensive
tactics, and so on.
In preparing to meet the opponents' defense we must have in-
formation concerning the following:
MEETING OPPONENTS' DEFENSE
1
Man-to-man
2
Tight man-to-man
3
Loose man-to-man
4
Switching man-to-man
5
Collapsing man-to-man
GAME ORGANIZATION, SCOUTING, STRATEGY 295
6
Tight on the ball . . . loose away from the ball
7
Zone defense
8
One-Three-One zone
9
Two-One-Two zone
10
Two-Three zone
11
Three-Two zone
12
One-One-Three zone
13
Three-One-One zone
14
Box-and-One
15
Basket hanger with Two-Two
16
Man-to-man with one man playing free
17
Full-court press
18
Semi-court press
19
One-man press
296 GAME ORGANIZATION, SCOUTING, STRATEGY
20
Two-man press
21
Zone press
22
Special defenses
23
Double-teaming the ball
24
Forcing the dribbler to sidelines
6
drills and practice
outlines
OFFENSIVE DRILLS
There are thousands of basketball drills and the great majority
of them are excellent teaching mediums. However, each coach has
his favorite list. The following represent a few I use personally in
teaching the game skills and offensive and defensive team tech-
niques.
The photograph on page 298 shows our best passing drill. Four
balls are used and the passing starts simultaneously in each corner.
A great variety of passes may be used. For example, the first pass
from player 1 to player 2 may be an over-the-shoulder two-hand
flip. Player 1 (in each corner) cuts toward the next corner (anti-
clockwise in this picture) and receives a return baseball pass from
player 2. Player 1 takes the ball over his right shoulder while on the
dead run. He then bounce-passes the ball forward to player 2 in
the next corner. Player 2 returns the ball to player 1 with the same
over-the-shoulder two-hand flip with which the drill was started,
and cuts toward the next corner.
This passing and cutting continues from corner to corner with
each player taking part in the drill and passing and cutting and
using all the passes in the book. The coach should call the series
he wishes in groups of three. For example, he has just called for
297
DRILLS AND PRACTICE OUTLINES
299
three passes, starting with the over-the-shoulder two-hand flip, fol-
lowed by the baseball pass, and finishing with the two-hand bounce
pass. Another series might be: "One-hand underhand back flip; one-
hand long bounce pass; two-hand snap pass."
The successful basketball team is skilled in the use of funda-
mentals. It bejiooves every coach, then, to spend a great part of the
practice session in developing player dexterity in passing, dribbling,
cutting, handling the ball at full speed, stopping, turning and pivot-
ing, guarding, switching, rebounding, and blocking out.
In the pre-practice time the coach should encourage his players
to use the medicine ball and the jumping rope to improve their
hands and footwork. The coach should also use this time to check
each player's shots and make sure each is practicing his position
shots (those most often attempted in the games).
Chart 140
Chart 141
Chart 142
®
In Chart 140 each player has a ball. The balls cross in the air,
the trick being to pass them on the same plane as rapidly as pos-
sible without one ball hitting the other.
In Chart 141 players 1 and 2 pass to teammate 3 in turn, moving
the two balls as rapidly as player 3 can handle the passes.
In Chart 142 the ball follows the path shown from player 1 to 2
to 3 to 4 back to 2 and to 5 again returning to the starting point
at player 1. Only one ball is used here, but it is possible to use
four balls at one time and some groups can use five. The balls all
follow the same path in the circulation. This is an excellent drill
for the post or pivot player, and all types of passes may be used.
300
DRILLS AND PRACTICE OUTLINES
Chart 143
Chart 143 shows a running drill. Every other player is passed
up. Player 1 passes to player 2. Player 2 passes to player 5, passing
up player 3. Player 5 passes up player 4 and passes to player 6, and
so on.
Chart 144
Chart 144 shows a marginal- or peripheral-vision drill. Player 2
starts the drill by passing to player 1. Player 1 passes to player 5.
Player 3 passes to player 1, and 1 passes to 4. The passes continue
as follows: 5 to 1, 1 to 6; 4 to 1, 1 to 3; 6 to 1, 1 to 2.
DRILLS AND PRACTICE OUTLINES
301
Chart 145
The drill in Chart 145 is designed to correct the mistake of pass-
ing the ball to a teammate's back. We call it the hand target drill.
Player 1 passes the ball to teammate 3 and cuts. As he cuts he
raises his right hand as a target hand. Since he is facing to the
right when he passes the ball to teammate 3, the give-and-go weave
continuity should carry him to the right corner. However, he has not
raised his left hand (the correct target hand) and player 3 will
not pass the ball to him until he ( 1 ) has reversed under the basket
and reached point A . After the reverse, player 1 will continue back
to the righthand corner. The players like this drill because the hand
signal designates the cutting path. In the chart, player 3 passes the
ball to teammate 2 and raises his right hand as he cuts; this being
correct, player 2 may return the pass to him at once.
The three-man backcourt weave shown in Chart 146 is used in
the Three-Two offense and is good training for the ball handling
needed to set up the give-and-go circulation. There may be no re-
strictions on dribbling, as in the chart here, or the dribble may be
eliminated. Player 1 passes to teammate 2 and cuts behind him.
Player 2 passes to 3 and cuts behind him. The player movement is
called a "flat figure-eight."
302
DRILLS AND PRACTICE OUTLINES
Chart 146
Chart 147
Chart 147 shows a standing "cross-hand" passing drill. The ball
is passed with the left or right hand but must be thrown through
the air when the passing hand crosses above the other hand. If the
passing hand crosses under the other arm, the player must use a
bounce pass. In the chart, player 1 releases the ball with his left
hand which has crossed under his right arm; he must use a bounce
pass.
Player 2 passes the ball to player 3 with his left hand crossing
above his right arm. It is a straight flip pass through the air. Player
3 passes the ball to player 4 with the right hand. Since the right
DRILLS AND PRACTICE OUTLINES
303
Chart 148
hand crosses above the left arm, it is a straight flip pass through the
air.
Chart 148 shows a corner clearout drill. Player 1 passes to team-
mate 2 in the corner and cuts as shown. Player 2 passes the ball
back to player 1 and clears out by cutting toward the pivot player
3. Player 1 now passes the ball to the pivot player 3 and cuts as
shown. This is an excellent drill for teaching men to set up shots
and plays by moving away from the ball.
The four-corner dribble drill in Chart 149 also teaches the use
of the pivot and pass. Player 1 in each line dribbles to the center
and pivots right or left as the coach desires. He then passes to the
corner toward which he has pivoted and follows the ball. Player
2 in each line receives the ball and continues the drill.
Chart 150 shows a dribble pick drill. Player 1 dribbles to a posi-
tion approximately four feet away from his teammate 2 and sets a
pick (facing the basket). Player 2 maneuvers right or left, cuts past
teammate 1, and receives the ball. Adding defensive players to the
drill will greatly increase its value.
304
DRILLS AND PRACTICE OUTLINES
Chart 149
Chart 150
DRILLS AND PRACTICE OUTLINES
Chart 151
305
In Chart 151 the pivot players dribble out to positions approxi-
mately four to six feet from their backcourt teammates and estab-
lish blocks. The pivot player on the right has pivoted around to face
the basket. The pivot player on the left has established a back-up
position. The backcourt players in each line may cut as they wish.
The addition of defensive players to the drill will again increase its
value.
Chart 152
®*G>
Chart 152 shows an excellent dribble, drive, and shooting
drill. The players in each line dribble in turn for the basket. The
306
DRILLS AND PRACTICE OUTLINES
ball must be dribbled with the outside hand. The coach may yell
"Hip!" at any time. If he does, the dribbler must stop and attempt
a set or jump shot according to the wishes of the coach. The
dribble and turn around the coach on the free-throw line must be
made with the shoulder opposite the dribbling side carried low to
develop drive.
Here player 1 is dribbling with his right hand and has stopped
on the "Hip!" to attempt a jump shot. Player 2, dribbling with his
left hand, has continued on in to the basket for a lay-up because
the coach did not yell "Hip!"
Chart 153
The corner-to-corner roll shown in Chart 153 incorporates the
dribble with the outside hand for protection. Speed here is not of
the essence since the object is ball protection. The body must be
kept low and the ball must be dribbled opposite the right foot
when moving right and opposite the left foot when dribbling to
the left. The players may peel off when they get a good screen by a
teammate and dribble hard for the basket.
Chart 154 shows a good dribble, pivot, and cut drill. Player 1
dribbles to the right, pivots, and passes to teammate 2. Teammate
2 dribbles to the left with his left hand and player 1 spins away
and cuts for the basket. Player 2 pivots and passes the ball to
teammate 1, then spins and cuts for the basket. This drill can ex-
DRILLS AND PRACTICE OUTLINES
307
Chart 154
tend the length of the court with other twosomes following behind
executing the same drill.
Chart 155
The slicing drill shown in Chart 155 is used to develop cutting
ability and timing. Player 1 cuts first and teammate 2 tries to cut
as closely behind him as possible. The coach may vary the slicing
drill by yelling "Hip!" to signify that (as above) he wants player 4
308
DRILLS AND PRACTICE OUTLINES
to pivot and follow teammate 3 in a trailer play. This pivot or spin
being used by player 4 is important in avoiding an opponent when
executing an outside screen.
Chart 156
In the drill shown in Chart 156 player 1 passes the ball to team-
mate 2 who breaks out along the free-throw lane. Player 1 then
sets a screen block in the outer half of the free-throw circle for
teammate 3. Player 3 cuts as shown and receives the ball from
player 2. Player 3 may shoot or pass to teammate 1. Teammate
1 makes the rebound if player 3 shoots, and the drill continues with
the next threesome.
Chart 157
The turnaround play shown in Chart 157 requires much prac-
tice. Player 1 passes the ball in a high toss to teammate 2 who
DRILLS AND PRACTICE OUTLINES
309
breaks out to the ball. As soon as player 2 gets the ball he turns,
holding the ball high above his head, and faces the basket. Player
1 now follows his pass and cuts around the turnaround block.
Player 2 passes the ball to the cutter 1, dribbles in for a lay-up, or
else shoots from his position. The same procedure is followed by
players 3 and 4. Adding defensive players after the turnaround
technique is mastered will add to the effectiveness of the drill.
Chart 158
The guard-around drill shown in Chart 158 is used by many of
the leading teams in the country. Some teams use it as a warm-up
drill, and many incorporate the play in their regular system.
It has many variations. Player 1 passes to teammate 2 and breaks
as shown. Player 2 passes the ball to teammate 3 who cuts to the
free-throw line. Player 3 passes the ball to player 1 cutting under
the basket.
When the opponents are attempting to intercept the ball on its
advance from the back court to the front court, the "pass-and-go-
behind" (shown in Chart 159) helps in protecting the ball. Player
1 passes the ball to teammate 2 and goes behind him as shown.
Player 2 dribbles to the left and passes to teammate 3. He then
cuts behind teammate 3 as shown. Player 3 dribbles and then
passes the ball to player 1 who is driving toward the basket.
310
DRILLS AND PRACTICE OUTLINES
Chart 159
Chart 160
Chart 160 shows a common warm-up drill. Player 1 passes to
teammate 2 who shoots. Player 3 rebounds and passes to player
4. Player 4 passes to teammate 5 who shoots. Player 6 rebounds
and passes to teammate 7. Player 7 passes to teammate 8. Player
8 shoots.
Chart 161 shows a set-shot drill. Players are teamed up as are
player 1 and player 2. Player 1 shoots and his teammate 2 makes
the rebound and takes the ball out of bounds. In the meantime,
DRILLS AND PRACTICE OUTLINES
311
Chart 161
player 1 moves to a different position and player 2 passes the ball
back to the shooter 1 for another shot. Players 3 and 4 are like-
wise teamed up; after player 3 shoots, player 4 makes the rebound
and takes the ball out of bounds. He then passes the ball back to
the shooter 3 in the right corner for another shot.
Chart 162
312
DRILLS AND PRACTICE OUTLINES
In Chart 162 player 2 cuts for the basket. Teammate 1 (with
the ball) passes to teammate 2. Teammate 2 attempts a shot and
moves along the baseline and up the right sideline. Player 3 makes
the rebound and passes to player 4. Player 4 passes the ball to
player 5 who takes the shot. Player 6 makes the rebound and
passes to player 2 who has now moved to the right sideline row of
players.
Chart 163
In the drill shown in Chart 163 each offensive player must exe-
cute an inside screen (moving between his teammate and his team-
mate's opponent) as he passes the ball. Player 1 starts the drill by
passing to teammate 2 and starting to move between player 2 and
defensive player B. As player 1 starts his screen, he sees that he is
going to charge defensive player B. By executing an offensive roll
he can evade opponent B and avoid a charging foul. This drill is
not as easy as it may appear. Every screen must be an inside screen.
This means that the screener may have to stop at certain times
to avoid a charge, or even reverse direction to evade a defensive
player.
The drill in Chart 164 requires the use of the outside screen
(moving behind the teammate's opponent) by the passer. Player
1 passes the ball to teammate 2 and is forced to use the offensive
DRILLS AND PRACTICE OUTLINES
313
roll away from opponent B to avoid a charging foul. Player 2
dribbles to the left and passes to teammate 3. In order to execute
an outside screen at this point, offensive player 2 must execute
a quick stop and retreat until he has enough room to move to the
outside (behind opponent C). As in the inside-screen drill, every
screen in this drill mus( be executed properly (behind the op-
ponents).
Chart 164
Chart 165 shows a great conditioning and passing drill originated
by Coach Howard Cann of New York University. It requires ex-
pert passing skill while the players are moving at top speed. The
player must not "travel" with the ball, it cannot touch the floor
(dribble or fumble), and the basket must be made. Should a
player travel, dribble, fumble, or should one player fail to receive
the ball, the coach calls: "And again!" This continues until the
five players can make it down and back again without making a
mistake. Then five other players try it. '
314
DRILLS AND PRACTICE OUTLINES
Chart 165
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(Z)
S)
DRILLS AND PRACTICE OUTLINES
315
Chart 166
The fast-break drill in Chart 166 serves a number of purposes.
Player 1 takes the shot (anyone may shoot) and defensive players
A, B, and C form the defensive triangle under the basket after mak-
ing sure they have blocked out their opponents, 1,2, and 3. Player
C makes the rebound and immediately passes to teammate E who
has broken to the free-throw line with the shot after making sure
316
DRILLS AND PRACTICE OUTLINES
his opponent 5 is not going to follow in. Teammate D has done
likewise.
Player E now passes to teammate D who dribbles rapidly up
the center of the court. The other players fill the fast-break lanes
as shown. Player A is the trailer and teammate C (the rebounder)
is in charge of the defensive balance.
Chart 167
The "tap-in" drill in Chart 167 makes a fine warm-up drill as
well. Player 1 passes to teammate 2 who shoots and deliberately
misses the basket with a lay-up shot against the backboard. Player
3 leaps high in the air and taps the ball back up against the back-
board (preferably with two hands) and into the basket. Player 4
makes the rebound and passes the ball to teammate 5 in the op-
posite line. Player 5 misses the lay-up purposefully and teammate
5 makes the tap-in shot. Player 7 makes the rebound and passes
the ball to teammate 8. This drill keeps the players moving and
requires great skill for proper execution.
Chart 168 shows an excellent passing and warm-up drill. Player
1 passes the ball to teammate 2 and follows his pass slightly to the
right and toward the basket. Player 2 passes to teammate 3 who
has cut to the basket and takes the shot. The original passer follows
in as teammates 2 and 3 continue on to the left and right corners.
DRILLS AND PRACTICE OUTLINES
317
Chart 168
Player 1 makes the rebound; he may pass to either corner de-
pending upon his position. In the chart, he passes to teammate 2
in the left corner, and follows his pass. Player 2 may pass the ball
back to the center line if only one ball is used. However, the drill
works much more smoothly if each group of three players has a
ball. In this case, player 2 would dribble up the sideline and be-
hind the left line to the center line where he would become the
passer and rebounder when his turn came up again.
OFFENSE PRACTICE OUTLINES
Most college coaches have a fairly good idea of the abilities of
the players reporting for the team. This enables them to quickly
weed out the weak material and initiate their regular planned
practice program at once. However, some coaches are overwhelmed
by the number of candidates. It is important and in the best in-
terest of the team that the players who do not measure up to
varsity status be eliminated.
318 DRILLS AND PRACTICE OUTLINES
In my opinion, there is only one fair way to eliminate the poor
players and that is through the medium of formal scrimmage.
Judging players by their skill in executing fundamental drills is
fairly simple, but it often leaves the unsuccessful candidate with
the feeling that he wasn't given a fair chance.
The daily practice program should be planned carefully be-
cause every minute is precious. This means that the coach and the
players must be punctual and report for practice on time. The
planned program will eliminate a lot of waste time and enable the
coach and players to move quickly from one phase of the practice
to another. It should be posted on the dressing-room bulletin
board so the players will know what the coach is trying to accom-
plish. Skull practices are important in explaining the purpose of
each drill. With this preliminary information, the players will un-
derstand how the drill works into the regular offensive or defensive
style of play.
It is important that the practice outline be varied to eliminate
"sameness" and boredom. Drills should be executed with enthusi-
asm, and it is wise to keep each drill-time short and to move
quickly from one drill to another. It is important, too, that the
drills be varied in intensity. We like to alternate running and
standing drills — but we never stop working.
We do not believe in devoting any of our limited practice time
to conditioning as such. We feel that the running drills and squad
scrimmages take care of the conditioning. Most basketball play-
ers realize the importance of developing top condition and will
spend personal time in outside running (sprints — trotting — walk-
ing).
At North Carolina we like to combine our individual and team
drills with the development of our basic offense and defense be-
ginning with the very first practice. The first week is considered an
orientation week during which we introduce the details of our
style of play and bring our players along slowly from the physical
point of view.
Beginning with the fourth week, our practice program follows
DRILLS AND PRACTICE OUTLINES 319
the general outline of the third week. Naturally, new plays and
drills are presented to the players from time to time to maintain
interest. Hard practices are scheduled after easy games; and easy
workouts, or none at all, follow difficult games. The practice time
must be allotted to permit the checking of offensive and defensive
weaknesses that become apparent in the games. Scouting informa-
tion will itself require considerable time. However, the funda-
mental work and drills must not be neglected. Fundamentals
should be drilled every day. The coach should stick to his regular
program and revise it each day to meet unusual situations and
problems.
FIRST WEEK
Concentration during this week is upon the development and
performance of fundamentals, although the basic offensive style of
play will be introduced. The squad should be divided into small
groups for the drills so that particular attention may be given to
details. Drills should be limited to short periods of time with
emphasis being placed upon familiarizing the players with their
purposes and execution.
Monday— Tuesday— Wednesday
4:00 P.M.
Practice begins with a game warm-up drill.
4:10
Passing— Screening— Discussion— Drills.
4:25
Shooting techniques and areas (discussion and demonstration).
4:40
Shooting drills (alternate running and standing).
320 DRILLS AND PRACTICE OUTLINES
5:00
Defensive work.
5:30
Offensive formation and plays. Discussion and demonstration of
the basic style. Position requirements, screening, passing, and
shooting possibilities.
5:40
Dismissal.
Th u rsday— Friday— Satu rday
4:00 P.M.
Practice begins with a game warm-up drill.
4:10
Passing drills.
4:20
Shooting drills.
4:30
Offensive formation and plays.
4:45
Defense.
5:30
Full-court running drills.
5:50
Dismissal.
SECOND WEEK
We can speed up our running and drill work this week since the
players now are in fairly good condition and are familiar with the
DRILLS AND PRACTICE OUTLINES 321
details of the drills and fundamentals. Beginning Thursday, we
will initiate our offensive-situation techniques and a daily scrim-
mage with which to end our practices.
Monday— Tuesday— Wed nesday
4:00 P.M.
Practice begins with a game warm-up drill.
4:10
Passing and screening drills at full speed.
4:25
Shooting drills. (Alternate running and standing.)
4:40
Basic offense. (Plays are introduced and practiced in slow mo-
tion.)
5:00
Relaxation period. (Players may rest, practice individual skills,
or engage in "fun" drills.)
5:15
Defensive work.
5:40
Full-court running drill.
5:50
Dismissal.
Thursday— Friday— Saturday
Team candidates who showed little ability have undoubtedly
been sent to the jayvee squad. At the end of this week another cut
may be made because the coach will have had an opportunity to
see the remaining doubtful candidates in the scrimmages.
322 DRILLS AND PRACTICE OUTLINES
4:00 P.M.
Practice begins with a game warm-up drill.
4:10
Offensive fundamental drills (running).
4:20
Offensive situation techniques (jump-ball, out-of-bounds, free-
throw).
4:40
Defensive work.
5:20
Scrimmage. (Basic offense and basic defense only are used, and
the coach must correct mistakes. Do not permit these initial scrim-
mages to degenerate into wild individual performances. Stress
and develop teamplay.)
5:40
Dismissal.
THIRD WEEK
The coach can now stress offensive position work and dwell
upon defense. Players are now capable of working at top speed in
all drills and the results of the previous practices will be apparent.
The coach will begin to recognize his scorers, his passers, and his
quarterbacks. If possible a scrimmage game with another team
should be scheduled for Friday or Saturday. At the end of this
week the final cut should be made.
4:00 P.M.
Practice begins with a game warm-up dril
4:10
Offensive running drills.
DRILLS AND PRACTICE OUTLINES 323
4:20
Individual instruction in the correct use of the various shots.
(Choose the player who has the best form for the demonstration
of his particular specialty.)
4:40
Defensive work.
5:20
Offensive situation work.
5:30
Scrimmage.
5:50
Dismissal.
The first game will probably now be close at hand. The coach
should make sure that his team is completely equipped to cope
with all game situations. Several skull practices should be held
unless they limit the practice time. The coach must not let game
anticipation obscure the importance of continued practice of
fundamentals. Don't overlook the necessity of being ready to meet
the various zones, the full press and its variations, as well as the
combination defenses. Be sure to cover your scouting notes care-
fully and run through your coaching checklist to make sure that you
have not overlooked some important phase of the game.
It is wise to rehearse your game organization before the first
game: dressing-room procedure; coming out on the court (run!);
warming up; reporting to the official scorer and the referee; com-
ing out of the game; and, most important, sportsmanlike perform-
ance on and off the court.
CONCLUSION
The preceding basketball philosophies, principles, individual
and team fundamentals, and their application to games are gen-
324 DRILLS AND PRACTICE OUTLINES
erally concerned with offensive basketball as played at North
Carolina University.
This book has been designed for basketball coaches and players
at all levels. Much space has been devoted to individual offensive
fundamentals, techniques, and methods of teaching them. Offen-
sive team play has been approached from the coach's point of view.
Following a thorough grounding in the individual elements of team
play, the coach has been provided with a complete offensive style
of play.
Offensive variations are woven into the basic team pattern in
such manner that the coach who adopts the North Carolina Uni-
versity style of play will find his team fully prepared to meet all
types of defenses.
In addition, a great number of tactical and strategic team
weapons are included in the text so that the coach will have suf-
ficient material with which to surprise his team's opponents.
index
Accuracy:
passing, 29
shooting, 93
Adaptability, team, 9-10
Administration, school, 1, 2
Advancement, 154-56
following interception, 155
surprise defense and, 155-56
Aggressiveness, 5
Aids, coaching, 10
Aiming, 102
Angle, shooting, 105
chart, 106
of tip-ins, 114
Angle cut, 80
Areas :
rebound, 160
shooting, 11
under-basket, 210
Arizin, Paul, 67
Assistants, coaching, 5
note-taking by, 291
scouting by, 294
at staff meetings, 15
Athlete's foot, 17
Attack (see also Offense)
front-court, 86
slowing down, 12
style of, 10
Authority, 6
Averages, shooting, 93
B
Backboard:
shooting angle and, 104
tip-in shots and, 114
use of, in shooting, 103-4
Back-bounce pass, 32
Backcourt men, 23
characteristics of, 150
responsibilities of, 151, 153
in Three-Two attack, 247
Back-flip pass, 33
Back line, 150
Back screen, 88
Back tap, 255
Back-up shots, 102, 115-18 (see also
Shots, types of)
Balance, 52
court, 151, 153
defensive, 204, 206
Ball-and-foot fake, 67
Ball handling:
catching, 28-29
dribbling, 64-67 (see also Drib-
bling)
passing (see Passes, Passing)
Bank shots, 105
Baseball pass, 32-33
Basic offense, 208-10
Basket, 102 (see also Rim)
Basketball:
coach's duty to improve, 3-4
control, 266-68 (see also Control
game)
defensive, 266
in educational system, 1
as game of motion, 78
philosophy of, 7-13
players, 22-26 (see also Players)
professional, 23, 24
rules and, 3
year-round play, 13
Basket hanger, 295
Bee, Claire, 236
Blackboards:
to illustrate situations, 10
325
326
INDEX
Blackboards ( Cont. ) :
pre-game use, 288
use at squad meetings, 16
Blocking posts, 115, 282
Block plays, 203
Blocks, 86, 110 (see also Screens)
in attacking sag and float, 280
double, 92
dribble, 174
inside screen, 88
outside screen, 89
post-pivot, 196
rear dribble, 91
rear post, 90
side dribble, 91
side post, 89
triangle dribble, 90
turnaround, 212
Bounce passes, 31-32
Bowling pass, 33
Box-and-One defense, 295
Breaking, 78
Break-out, 85
Bunched defense, 234
Buttonhook shot, 109, 116
Calisthenics, 16-17, 25
Candidates:
selection of, 26-27
unsuccessful, 28
weeding out, 317-18, 321, 322
Cann, Howard, 313
Captains, 15
relations with coach, 11
selection of, 14
Catching 28-29
Celtics, original, 115
Center-tap, 250, 254 (see also Jump-
ball situations)
Championship teams, 172
Change-up, 81
Character building, 3
Charging, 313
Chart, performance, 27
Chest pass, 31
Circulation, 167-69
Clean shots, 104, 114, 116
Coaches, 6-7, 317-18
assistant, 5, 15, 291, 294
background of, 294
as character builders, 7
code for, 1-7
duty to improve game, 3-4
early-season planning, 17
Coaches ( Cont. ) :
enthusiasm of, 10
as faculty members, 1
freshman, 291, 294
in-season planning, 18-21
jayvee, 294
leadership by, 5
newspapers and, 2-3
planning for games by, 285
practice programs and, 5-6
pre-season duties, 13-17
professional interests of, 3-4
public relations and, 2
relations with captains, 11
relations with players, 4
relations with students, 2
and school loyalty, 2
as scouts, 294
and selection of varsity, 26-28
sportsmanship by, 3
as students of game, 3
teams and, 4
weeding out by, 317-18, 321, 322
as youth leaders, 7
Coaching, 10-11
code of, 1-7
drills and, 297 (see also Drills)
individual, 6
and style of attack, 10
Coaching aids, 10
Coaching code, 1-7
Coaching schools, 3
Confidence, 5
Conditioning, 10, 18-21
drills for, 16-17, 313
early season, 16
maintaining during season, 18-21
(see also Training rules)
methods of, 17
practice time and, 318
Confidence, player, 275
Contact, defined, 224
Control game, 266-68, 286
passing and screening in, 267
systems, 267
when opponents play running game,
289
Corner break-out, 85
Corner-clearout drill, 303
Corner-clearout play, 198
Corner loop cut, 81
Corner men, 23, 24, 85, 150
characteristics of, 151
responsibilities of, 151, 153
in Three-Two attack, 247
INDEX
327
Corner-pivot plays, 195-196
Corner-to-corner roll, 306
Court, inspection of, 14
Court balance, 151, 153
Criticism, 6, 23
Cross-court Reverse, 81
Cross-body pass, 33
Cross-face pass, 33
Cross-hand passes, 302
Cutter, 74
Cutting, 77-85
angle, 80
breaking and, 78
characteristics of good, 78
diagonal, 118-19
drill in, 297
teaching of, 78-79
types of, 80-85
angle, 80
corner break-out, 85
corner loop, 81
Cutting:
types of:
cross-court reverse, 81
Reverse Post, 84, 85
S, 82
scissors, 83
slice, 82
under and out, 85
V, 84
D
Dead ball, 103
Deception, 30
Decisions, 288
near end of game, 293
when to freeze, 292-93
Deep back tap, 251
Defense:
against opponent's leading scorer,
291
basket hanger with Two-Two, 295
Box-and-One, 295
bunched, 234
changing, 207
changing offense to meet, 12-13
combination, 150
control game and, 267
fakes and, 74
jump shot and, 113
man-to-man (see Man-to-man de-
fense )
positions for, 23
press, 155, 275 (see also Press)
Defense ( Cont. ) :
rebounding by, 77-78
sag and float, 280-81
screens and, 86
surprise moves in, 155
switch, 150, 282, 283, 294 (see also
Switch defense)
Two-One-Two, 241
variations in, 281-84
versus offense, 267
zone (see Zone defense)
Defensive balance, 204, 206
Defensive triangle, 315
Dehnert, Dutch, 115
Diagonal cuts, 118-19
Diagonal hook shot, 118-19
Diagonal plays, 195
Diagonal shots, 102, 118-19 (see also
Shots, types of)
Diet, 19-20
fatigue and, 21
suggested, 20
Discipline, 6, 8
Double block, 92
Double screen, 293
Double-teaming, 275, 292, 293, 296
Double-time, 65
Dressing room (see Locker room)
Dribble block, 174
Dribble-screen, 193
Dribble-trailer, 193
Dribbling:
changing direction, 65
drills in, 303, 305
faking and, 64-65
fast break and, 157-58
during freeze, 268, 271
press and, 275
protecting ball during, 156
reverse, 65
rules for, 65-67
technique of, 64-65
trapping, 65, 66
use of, 64
Drills:
conditioning, 313
corner-clearout, 303
cross-hand passing, 302
cutting, 297
to develop fundamentals, 5-6, 299
dribbling, 303, 305
drive and shooting, 305
fast-break, 17, 315
full-press, 17
fun, 5
328
INDEX
Drills (Cont,):
fundamental, 299
guard-around, 309
hand target, 301
importance of, 6
inside screen, 312-13
passing, 29, 297-98, 316-17 (see also
Passing drills)
peripheral vision, 300
pivot and cut, 306
pivoting, 52
for pivot man, 299, 305
running, 300
shooting, 93, 310-12
slicing, 307-8
spread-eagle, 76
tap-in, 316
three-man passing, 288
varied to avoid boredom, 318
warm-up, 286, 288-89 (see also
Warm-up drills)
Drive and shot fake, 74
Driving, 105, 107, 110
Dummy play, 74, 154, 155
Dunking, 76, 114-15
E
Eastern style offense, 24
Elimination (see Weeding out)
Enthusiasm, 10
Equipment, inspection of, 14
Exercising, 13 (see also Calisthenics)
Facing shots, 102, 105-115 (see also
Shots, types of)
Faculty;
coach as member of, 1
coach's relations with, 2
Fakes:
ball-and-foot, 67
defense and, 74
defined, 67
drive and shot, 74
dummy play, 74
failure of, 74
sag and float and, 280
snap passes and, 31
Fake-shot pass, 34
Faking, defined, 67
Fall-away, 114
Fast break:
ahead of zone formation, 247-48
Fast break (Cont.):
backcourt players and, 23
drills in, 17, 315
from game situations, 160^66
lay-up shots and, 107, 108
from man-to-man and zone defense,
157, 164
offense begins with, 12
passing and, 32
planning, 285
principles of, 158-60
purpose, 156
rules for, 166-67
technique of, 157
variations in, 156
Fatigue, 21
Feeder, 23, 115
Feeding:
hand-off, 115
hook pass for, 32
to pivot man, 23
Feet, care of, 17
Feints (see also Fakes)
defined, 67
failure of, 74
snap passes and, 31
Five-man roll, 237
Five-man weave offense, 23, 24, 210-
12
Float, 280-81
Floaters, 280
Follow-through, 104
Footwork, 52
Four-man roll, 238
Forward flip pass, 33
Forward tap, 253
Fouls:
by defense, 86, 291
drawing, 118
personal, 287
removal of player for, 290
warning players of, 291
during screening, 86
to secure ball, 293
Foul shots (see Free throws)
Four-man roll offense, 23, 24, 238
Free-throw circle, 150
Free-throw lane, 108, 150
Free throws:
playing the lane for, 266
positions during, 268
practice of, 120
two-hand overhand, 120
two-hand overhead, 120
INDEX
329
Freezing, 12, 84, 268, 271-75
complete, 271
decision for, 291-92
dribbling during, 268, 271
give-and-go-away, 272-73
give-and-go weave in, 169
method of, 292
pass, 292
rules for, 274-75
weakness in, 292-93
Freshman coach, 291, 294
Full-court press, 286, 289, 295 (see
also Press)
Full-press drills, 17
Fumbling, 28
Fundamentals, 11, 13, 319, 321
in building offense, 208-9
conditioning and, 16* 17
drilling in, 5-6, 299
importance of, 4-5
pre-season practice of, 13
repetitive drills in, 5-6
Fun drills, §
Garnet
control, 266-68 (see also Control
game)
normal, 286, 289
running, 266, 289
style of, 286, 289
Games:
announcement of, 2-3
decisions during, 288
first, 323
officiating of, 3
planning for, 285-88
rules and, 3
scrimmage, 322
Give-and-go continuity, 78-79, 82
Give-and-go plays, 186
Give-and-go weave, 167-72, 179, 210-
12, 283
cumulation, 167-69
five-man, 210-12, 247
freezing with, 169
screens and, 169
as teaching medium, 169
three-man plays in, 196
in turnabout play, 177, 179
turnaround block in, 212
Guard-around drill, 309
Guard-around play, 81
Gymnasium, inspection of, 14
H
Half -hook shot, 117
Half-time, 287, 291
Handball, 173
Hand-off, 115
Hand-off feeder, 115
Hand target drill, 301
Hard stop, 110, 113
Health, 1-2
and fatigue, 21
player, 11
Heavy-bag punching, 25, 173
Height:
of corner men, 23
dunking ability and, 76
hook shots and, 117
importance of, 22
utilizing, 172-75 (see also Players,
tall)
value in jumping, 75
Held-ball situations, 75, 207, 208 (see
also Jump-ball situations)
Hesitation, 108
Hook pass, 32
Hook shot, 116-17, 118-19
Illnesses, 2
Injuries :
coach's responsibility, 2
treatment of, 2
Inside screen, 87, 225, 226
Inside screen block, 88
Inside screen drill, 312-13
Interception, 154, 155
Intramural programs, 2
J
Jayvee coach, 294
Jayvee squad, 9, 321
Judgment, passing, 30
Jump-ball situations, 250-55 (see also
Tap)
development of plays from, 250-51
formation for, 253
front-court, 253
occurrence, 75
Jumping, 75-77
developing skill in, 76
rope, 13, 17, 25, 173, 299
uses of, 75
Jump pass, 34
330
INDEX
Jump plays {see Jump-ball situations)
Jump shots, 112-13, 16, 119 {see also
Shots, types of)
K
Kill, 105, 106
Lane:
free-throw^ 108, 150
playing, 266
Lay-up shots, 105, 107-9 {see also
Shots, types of)
Leadership, coaching, 5
Lineup, starting, 285, 288
Lob pass, 33-34
Locker rooms:
before game, 285, 288
supervision of, 5
Long Island University, 236
Loop cut, 81
Luisetti, Hank, 113
M
Managers, 5
duties of, 14-15
selection of, 14
Man-to-man defense:
changed to zone, 207
fast break from, 157
front-line, with back-line zone, 281,
282
information on, 294
offense against, 208-10
Two-Three attack and, 150
types of, 294
zone principles in, 280
Marginal vision, 30, 300
Marksmanship, 93, 102-21 {see also
Shooting )
Medicine balls, 13, 17, 25, 31, 299
Meetings :
pre-game, 288
squad, 16
staff, 15
checklist for, 15-16
Mental fatigue, 21
Morale, 13
praise and, 6
reserve, 8-9
team, 79
of winning teams, 21
Moving pivots, 169
N
Newspapers, 2-3
New York University, 313
North Carolina University, 11, 167,
247, 250, 267, 268, 275, 285,
293, 318, 324
Notes, scouting, 285, 323 {see also
Scouting)
O
Offense :
adapting to defense, 12-13
against combination defense, 281
against One-Three-One zone, 245-
46
against One-Two-Two zone, 242-44
against press, 275-79
against sag and float, 280-81
against Three-Two zone, 244-45
against Two-One-Two zone, 238-41
against Two-Three zone, 241-42
basic, 208-10
changing, 207
checklist, 153-54
control game, 266-67
directed against front-line players,
282
Eastern style, 24
fast break in, 12
five-man roll, 237 {see also Rolls)
five-man weave, 23, 24
four-man roll, 23, 24, 238 {see also
Rolls)
four-man weave, 150
fundamentals and, 208-9
general, 12
give-and-go weave, 150
mixing, 289
One-Three-One, 234, 236, 239, 247-
48
positions for, 23-24
roll, 150, 283
screening in, 86 {see also Screens)
single-pivot, 153
single-post, 153
spread, 154
starting, 285, 288
Three-Two, 24, 150, 247
Two-Three, 23, 150-53, 196, 212-46,
283
Two-Two-One, 234-35, 236, 239,
241, 242-44, 247-48
versus defense, 267
INDEX
331
Offense (Cont.):
Western Roll, 24
zone, 247-49
Offensive plays, 212-34 (see also Plays)
Offensive roll, 92
Officials, 323
coach's support of, 3
incompetent, 3
in jump-ball situations, 75, 76-77
Official scorer, 323
Officiating, 3, 76-77, 323
Oklahoma A. & M., 267
One-on-one play:
developing, 173
in freezing, 271
value of, 151
Organization:
game, 323
game-day, 285-88
Orientation, 318
Outlet passes, 157, 158, 160, 162
Out-of-bounds situations :
formations for, 256
scoring possibilities, 256
sideline, 260
under-the-basket, 260
Outside screen, 87, 224
Outside screen block, 89
Overcoaching, 10
Overhead pass, 32
Overhead shots, 110-11, 112
Over-the-rim shots, 114-15
Parents :
coach's relations with, 2
permission of, 16
Pass-and-go-behind, 309
Passes:
in advancement, 154-56
back-bounce, 32
back-flip, 33
baseball, 32-33
bounce, 31-32
chest, 31
cross-face and cross-body, 33
fake-shot, 34
forward flip, 33
hook, 32
interception of, 154, 155
in-the-air, 160
jump, 34
lob, 33-34
Passes ( Cont. ) :
long, 157
from out-of-bounds, 154 (see also
Out-of-bounds situations )
outlet, 157, 158, 160, 162
overhead, 32
rules for making, 34-35
two-handed chest, 31
Passing, 29-31
accuracy and, 29
cutting and, 78
deception in, 30
dribbling and, 64
drills in (see Passing drills)
when freezing, 273
fumbling and, 28
judgment and, 30
methods of, 31-35 (see also Passes)
to pivot man, 32
rules for, 34-35
speed in, 29-30
split vision and, 30
Passing drills:
cross-hand, 302
four-ball, 297-98
necessity for, 29
warm-up and, 316-17
weave type, 273
Pep meetings, 2
Pep talks, 21
Performance charts, 27
Peripheral vision, 30, 300
Permission, parents' playing, 16
Personal fouls (see Fouls, personal)
Physical examinations, 16
Physical fatigue, 21
Physicians, 2
services of, 11
weight problems and, 19
Pivot, moving, 169
Pivot drill, 52, 306
Pivot foot, 67
Pivoting, teaching of, 52
Pivot man, 23, 24, 85, 90, 106, 115,
116
characteristics of, 151
drills for, 299, 305
development of, 172-75
feeding to, 32
key player in Two-Three, 153
location of, 150
opportunities of, 210
responsibilities, 151, 153
shots used by (see Back-up shots)
in three-man plays, 196
332
INDEX
Pivot spin, 224
Planning:
early season, 17
game-day, 285-88
in-season, 18-21
meetings, 15-16 (see also Meetings)
pre-season, 13-17
Players, 7-9
attributes of, 22
backcourt (see Backcourt men)
back-line, 281, 282
checklist for, 25-26
conditioning of, 10, 18-21 (see also
Conditioning )
confidence against press defense,
275
in control game, 267
corner (see Corner men)
development of, 22-23
discipline of, 8
dribbling skill of, 64-65
duties of, 4
enthusiasm of, 8
front-line, 281, 282
health of, 1-2, 11
ideal, 24-25
individual coaching and, 6
jayvee, 9, 321
maintaining interest of nonvarsity,
28
overplaying of, 8
parents of, 2, 16
personal character of, 7
pivot or post (see Pivot man)
positions, 23-24
backcourt, 23
corner, 23, 24
post or pivot, 23, 24
pre-season activities, 13, 16
qualities of team, 27
quarterback (see Quarterbacks)
relations with coach, 4
reserve, 8-9
selection of, 151
selection for varsity, 26-28
sportsmanship by, 3
tall, 172-75 (see also Pivot man)
blocking, 174
defense by, 172-73
developing skills of, 173
training and health of, 1-2
training in basic skills, 11
Western, 113
weight levels of, 19
Playing the lane, 266
Plays:
block, 203
center-tap, 250, 254
corner-pivot, 195, 196
diagonal, 195
dummy, 74, 154, 155
give-and-go, 186
jump (see Jump-ball situations)
last-minute, 293
offensive, 212-34
one-on-one, 151, 173, 271
out-of-bounds, 256-66 (see also Out-
of-bounds situations)
three-man, 196-207 (see also Three-
man plays)
three-point, 293
turnabout, 175-85 (see also Turn-
about plays)
two-man, 186-96
two-on-two, 173
Plugging, 29-30
Positions:
chart, 152
defensive, 23
during free throws, 268
offensive, 23-24
for out-of-bounds plays, 256
of players in Two-Three offense, 150
shooting, 102, 106
Possession, tap, 250-51
Post man (see Pivot man)
Post-pivot block, 196
Post-pivot man (see Pivot man)
Post-screens, 153
Practice programs, 5-6
Practices:
early season, 17
first week of, 318, 319-20
following meals, 19
free-throw, 120
individual coaching and, 6
night, 11
outline for, 10, 319-23
planning, 5, 318
pre-game, 286, 288-89
reporting for, 318
second week of, 321-22
to simulate game conditions, 11
skull (see Skull sessions)
small-group, 319
short versus long, 10
time factor in, 5
Praise, 6
Pre-game practice, 285, 288-89
INDEX
333
Press, 275-79
dribbling and, 275
employed throughout game, 157
full-court, 286, 289, 295
one-man, 295
preparing for, 275
prevalence of, 155
semi-court, 286, 295
two-man, 296
zone, 296
Publicity, 2-3
Public relations, 2
Pump shot, 113
Punching bag, 25, 173
Quarterbacks:
abilities of, 23, 150
coach's relation to, 11
court balance and, 151
defined, 11, 150
responsibility for directing attack,
248
selection of, 322
Rear dribble block, 91
Rear post block, 90
Rebound areas, 160
Rebounding:
angle of, 105, 106
baseball pass and, 32-33
by corner men, 153
defensive, 77-78
after free throws, 266
offensive, 77-78
outlet passes after, 157, 158, 160
by pivot man, 151
Referee, 323
Reporting:
to officials, 323
for practices, 318
Reserves, 8-9
Reverse, cross-court, 81
Reverse dribble, 65
Reverse Post, 84, 85
Reverse spin (see Kill)
Rim:
focus on during hook shot, 117
tip-in shots and, 114
as shooting target, 102, 108, 111, 114
Rollers, 238
RoUs:
corner-to-corner, 306
five-man, 237
four-man, with post-pivot, 238
Rope skipping, 13, 17, 25, 299
Rules:
coach's obligations, 3
training (see Training rules)
Running drill, 300
Running game, 266, 289
Running shot, 109-10
Sag, 280-81
Saggers, 280, 281
San Francisco, 267
Schools:
administrations, 1, 2
coaching, 5
loyalty in, 2
policies of, 1
Scissors cut, 83
Score book, 291
Scorer, official, 323
Scoring, 93, 102
during freeze, 271, 292-93
hook shots and, 117
jump shots and, 113
opponent's leader in, 291
in out-of-bounds plays, 256
Scouting, 12, 293-94, 323
checklist for, 294-96
filing reports on, 293
to learn zone defenses, 248
method of, 293-94
notes gathered in, 285, 288
review of, 288
value of, 293
Screens, 86-92 (see also Rlocks)
back, 88
blocks and, 86
creating, 86
cuts and, 78
defense and, 86
double, 293
double block, 92
dribble, 193
drills in, 312-13
inside, 87, 225, 226, 312-13
offensive roll, 92
outside, 87, 224
post, 153
tactics of, 156
triple, 293
used against sag and float, 280
334
INDEX
Screens ( Cont. ) :
used with give-and-go weave, 169,
170
Scrimmage games, 322
Scrimmages :
daily, 321, 322
to eliminate poor players, 318
method of, 322
as selection device, 27
S cut, 82
Semi-Court press, 286, 295
Sessions:
practice, 5-6 (see also Practices)
skull (see Skull sessions)
Set shots, 310-11 (see also Shots,
types of)
one-hand, 110-11
two-hand, 111-12
Shadow boxing, 13, 17, 25, 173
Shooters, 93, 102
Shooting:
angle of, 105
chart, 106
charted areas for, 11
classified by direction, 102
clean, 104, 114, 116
drills in, 93, 310-12
favorite positions for, 102
free-throw, 120
importance of, 93
kinds of (see Shots, types of)
rules for, 121
spot, 260
technique of, 104
use of backboard in, 104-5
Shot chart, 291
Shots:
angle of, 105
chart, 106
classified by direction, 102
clean, 104, 114, 116
free-throw (see Free throws)
^one-hand Jump. 113-14
technique and follow-through, 104
types of:
chart, 103
diagonal hook, 118-19
diagonal stop-jump, 119
down-the-middle lay-up, 107-8
dunking or over-the-rim, 114-15
half -hook, 117
hook, 116-17
one-hand jump push, 119
one-hand jump-twist ,116
one-hand overhead, 110-11
Shots (Cont.):
types of ( Cont. ) :
one-hand set, 110
one-hand underhand lay-up, 108-9
one-hand underhand sweep, 118
right-hand lay-up, 107
running one-hand, 109-10
set, 110-12, 310-11
step-away, 115-16
straight turn, 115
tip-in, 114
twisting lay-up, 109
two-hand overhead, 112
two-hand overhead jump, 112, 113
two-hand overhead lay-up, 109
two-hand pump, 113
two-hand set, 111-12
two-hand underhand lay-up, 108
two-hand underhand sweep, 118
under-basket buttonhook, 109
up-and-under, 116
Side dribble block, 91
Side post block, 89
Side rotation, 105
Signals, 207-8
cutting, 263
in out-of-bounds situations, 260
types of, 208
uses of, 207
Single-pivot offense, 153
Single-post offense, 153
Skills:
defensive, 25
fundamental (see Fundamentals)
offensive, 25
shooting, 102
Skipping, 112
Skull sessions, 318, 323
to explain drills, 318
before first game, 323
player's part in, 10
Sleep, 19
Slicing, 82
Slicing drill, 307-8
Snap pass, 31
Speed, 11
as ability, 22
in passing, 29-30
Spin, 104, 105
"english," 107
reverse (see Kill)
Spirit, player, 7-8
Split-the-post principle, 197
Splitting the post, 82, 196, 197
Split vision, 30
INDEX
335
Sportsmanship, 3, 22-23
in coaching, 3
player, 3, 22
Spread-eagle drills, 76
Spread offense, 154
Squad meetings, 16
Staff meetings, 15-16
Stall, 154
Stanford University, 113
Starting lineup, 285, 288
Step-away shot, 115-16
Straight turn shot, 115
Strategy boards, 10
Style, game, 286, 289
Substitutes :
first, 290
first-line, 289
special-purpose, 290-91
Substitutions, 287, 290
Sweepers, 158, 160, 164, 165
Sweep shots, 118
Switch, 174, 176
Switch defense:
attacking, 150
change of direction, 283
man-to-man, 294
screen, 282
Tall men (see Height, Players, tall)
Tap, 250-1, 253 (see also Jump-ball
situations )
back, 255
deep back, 251
forward, 253
height of toss and, 77
necessity for controlling, 250
signals for, 75
timing and, 77
Tap-in drill, 316
Target:
in hook shots, 117
rim as, 102, 108, 111, 114
Teaching:
ethics of, 1
of fundamentals, 4-5
Teams:
adaptibility, 9-10
basic attacks of, 9
championship, 172
coaches and, 3
control game and, 267
fundamentals and, 5, 6
primacy of, 8
Telegraphing, 34
Ten-second line, 155
Three-man passing drill, 288
Three-man plays, 196-207
corner clearout, 198
with split-the-post principle, 197
transferring, 197
weave in, 196, 200
Three-point play, 293
Three-Two offense, 24, 150, 247
Time-outs, 207, 293
discussion of strategy during, 290
first, 287, 289-90
Time shot, 111
Timing:
of cuts, 78
in jump-ball situations, 75, 77
in passing, 29, 30, 33
teaching of, 169
of tip-in shots, 114
Tincture of Benzoin, 17
Tip-in shot, 114
Trailer, 163, 164, 165
Trainers, 11, 15, 18
coaches and, 3
diet and, 19
at pre-game practice, 289
Training, 18-20
diet requirements, 19-20
fatigue and, 21
health and, 1-2
sleep requirements, 19
weight problems and, 19
Training rules, 11, 18-20
importance of, 4
violations of, 19
Training table, 19
Trapping, 65, 66
Triangle, defensive, 315
Triangle dribble block, 90
Turnabout play, 175-185
defined, 175
give-and-go weave and, 179
dribble block and, 174
situation for, 202
Turnaround block, 212, 308-9
Two-handed chest pass, 31
Two-man plays, 186-96
Two-man press, 296
Two-on-two plays, 173
Two-Three offense, 23, 150-53, 196,
212-46, 283
U
Under and out cut, 85
Up-and-under shots, 116
336
INDEX
V
Variations, defensive, 281-84
Varsity:
junior (see Jayvee squad)
selection of, 26-28
V cut, 84
Vision, 30, 300
W
Warm-up drills, 286, 310
pre-game, 288-89
tap-in drill as, 316-17
Weaves :
five-man, 210-12
give-and-go, 167-72 (see also Give-
and-go weave)
three-man backcourt, 301
use in fast break, 156
Weeding out, 317-18
final, 322
second, 321
Weight, 24
Weight charts, 19
Weight problems, 19
Western Roll offense, 24
Workouts, 5-6 (see also Practices)
Zone defense, 24, 150, 157, 164, 234-
35, 247-49
back-line, with front-line man-to-
man, 281, 282
four-man, 281
list, 248-49
One-One-Three, 295
One-Three-One, 236, 245-46
One-Two-Two, 234-35, 242-44
press, 275
principles used in man-to-man, 280
Three-One-One, 295
Three-Two, 236, 244-45, 295
Two-One-Two, 238-41, 295
Two-Three, 234, 241-42, 295
Zone box, 282
Zone press, 296
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